LEMDO Classroom: The Three Ladies of London

Edition: The Three Ladies of LondonThe Three Ladies of London

The Prologue

To sit on honor’s

seat, it is a lofty reach

;

To seek for praise by making brags oft-times doth get a breach

We list

not ride the rolling racks

that dims the crystal

skies.

We mean to set no glimmering

glance before your courteous eyes.

We search not Pluto’s pensive pit

, nor taste

of Limbo Lake

We do not show of warlike fight, as shield and sword

to shake.

We speak not of the powers divine, ne

yet of furious sprites

We do not seek high hills to climb

, nor talk of love’s delights.

We do not here present to you the thresher with his flail

Nor do we here present to you the milkmaid with her pail.

We show not you of country toil, as hedger

with his bill

We do not bring the husbandman

to lop and top with skill.

We play not here the gardener’s part to plant, to set, and sow.

You marvel then what wares

we have to furnish out our show.

Your patience yet we crave a while till we have trimmed

our stall

;

Then, young and old, come and behold our wares, and buy them all

Then if our wares shall seem to you well woven, good, and fine,

We hope we shall your custom

have again another time.

FINIS.

A Pithy and Pleasant Comedy of the Three Ladies of London.

Scene 1 Video Sc. 1

Enter Fame sounding

before Love and Conscience.

1.Sp1Love

Lady Conscience,

What shall we say to our estates

, to whom shall we complain,

Or how shall we abridge such fates as heapeth up our pain?

’Tis Lucre now that rules the rout

, ’tis she is all in all

’Tis she that holds her head so stout

; in fine

, ’tis she that works our fall.

Oh, Conscience, I fear, I fear a day

That we by her and Usury shall quite be cast away

1.Sp2Conscience

Indeed I fear the worst, for every man doth sue

And comes from countries strange and far, of her to have a view,

Although they ought to seek true Love and Conscience clear.

But Love and Conscience few do like, that lean on Lucre’s chair.

Men ought be ruled by us, we ought in them bear sway

So should each neighbor

live by other in good estate alway.

1.Sp3Love

For Lucre men come from Italy, Barbary

, Turkey,

From Jewry

— nay the Pagan himself

Endangers his body to gape for

her pelf

They forsake mother, prince, country, religion, kith and kin;

Nay, men care not what they forsake, so Lady Lucre they win,

That we poor ladies may sigh to see our states thus turned and tossed,

And worse and worse is like to be, where Lucre rules the roost

1.Sp4Conscience

You say the truth, yet God I trust will not admit it so, That Love and Conscience by Lucre’s lust shall catch an overthrow.

1.Sp5Fame

Good ladies, rest content, and you no doubt shall see

Them plagued with painful punishment for such their cruelty;

And if true Love and Conscience live from

Lucre’s lust lascivious,

Then Fame a triple crown

will give, which lasteth ay

victorious.

1.Sp6Conscience

God grant that Conscience keep within the bounds of right,

And that vile Lucre do not daunt her heart

with deadly spite.

1.Sp7Love

And grant, O God, that Love be found in city, town, and country

Which causeth wealth and peace abound, and pleaseth God almighty.

1.Sp8Fame

But, ladies, is’t your pleasure to walk abroad

a while,

And recreate yourselves with measure

, your sorrows to beguile

1.Sp9Conscience

Pass on, good Fame, your steps do frame

; on you we will attend,

And pray to God, that holds the rod

, our states for to defend.

Exeunt.

Scene 2 Video Sc. 2

Enter Dissimulation, having on a farmer’s long coat

, and a cap, and his polland beard painted motley

2.Sp1Dissimulation

Nay, no less than a farmer, a right honest man,

But my tongue cannot stay

me to tell what I am.

Nay, who is it that knows me not by my particolored

head?

They may well think, that see me, my honesty is fled.

Tush

, a fig

for honesty! Tut

, let that go,

Sith

men, women, and children my name and doings do know.

My name is Dissimulation, and no base mind I bear,

For my outward effects my inward zeal do declare

;

For men do dissemble with their wives and their wives with them again,

So that in the hearts of them I always remain.

The child dissembles with his father, the sister with her brother

The maiden with her mistress, and the young man with his lover. There is dissimulation between neighbor and neighbor, friend and friend, one with another

Between the servant and his master, between brother and brother.

Then why make you it strange that ever you knew me

Seeing so often I range throughout

every degree

But forget my baseness

– I’ll towards London as fast as I can

To get entertainment

of one of the three ladies, like an honest man.

Enter Simplicity

like a miller

all mealy

with a wand

in his hand.

2.Sp2Simplicity

They say there is preferment

in London to have.

Mass

, an

there be, I’ll be passing

and brave.

Why, I’ll be no more a miller, because the maidens call me Dusty-poll

One thumps me on the neck, and another strikes me on the noll

And you see I am a handsome fellow: mark the comporknance

of my stature.

Faith, I’ll go seek peradventures

, and be a serving creature.

Dissimulation

Whither away, good fellow?

I pray thee, declare.

Simplicity

Marry, I’ll ’clare

thee, to London. Would thou didst go there!

Dissimulation

What if I did? Would it be better for thee?

Simplicity

Ay, marry, should it, for I love honest

company.

Dissimulation

Agreed, Shaking hands there is a bargain. But what shall I call thee?

Simplicity

’Cause thou art an honest man, I’ll tell thee: my name is Simplicity

Dissimulation

A name agreeing to thy nature – but stay, here comes more company.

Enter Fraud with a sword and buckler

like a ruffian

Fraud

Huff

, once aloft raising his sword , an if I may hit in the right vein,

Where I may beguile easily without any great pain,

I will flaunt

it and brave it after the lusty swash

—

I’ll deceive thousands! What care I who lie in the lash

Dissimulation

What, Fraud, well met! Whither travelest thou this way?

Fraud

To London, to get entertainment there, if I may,

Of the three ladies, Lucre, Love, and Conscience.

What care I to serve the Devil

, so I may get pence?

Simplicity

Oh, Fraud, I know thee for a deceitful knave, And art thou gotten so boniacion

and brave

I knew thee when thou dwelt

at a place called Gravesend

And the guests knew thee too, because thou wast not their friend,

For when thou wouldst bring reckoning to thy guests

Thou wouldst say twice so much

, and swear it cost thy dame no less

So thou didst deceive them, and thy dame

too,

And because they spied thy knavery, away thou didst go.

Then thou didst go into Hertfordshire

to a place called Ware

And because horses stood at hay for a penny a night

there,

So that thou couldst get nothing that kind of way,

Thou didst grease the horses’ teeth

, that they should not eat hay,

And wouldst tell the rider

his horse no hay would eat,

So the man would say

, “Give him some other kind of meat.”

“Sir, shall I give him oats, vetches

, peas, barley, or bread?”

But whate’er thou gav’st him, thou stol’st three-quarters when he was in bed.

And now thou art so proud with thy filching and cozening

art,

But I think one day thou wilt be proud

of the rope and the cart

Take a wise fellow’s counsel, Fraud, leave thy cozening and filching.

Fraud

Thou whoreson rascal swad

, avaunt

! I’ll bang thee for the brawling

How darest thou defame a gentleman that hath so large a living

Simplicity

A goodly gentleman ostler

? To audience I think none of you all believe him

Fraud

What a clinchpoop drudge

is this? I can forbear him no more.

Let Fraud make as though he would strike him, but see

Dissimulation step between them.

Dissimulation

My good friend Fraud, refrain, and care not therefore,

’Tis Simplicity, that patch

, he knoweth not good from bad,

And if you were to stand in contention

with him, I would think you were mad.

But tell me, Fraud, tell me, hast thou been an ostler in thy days?

Fraud

Faith

, I have proved a hundred such ways.

For when I could not thrive by all other trades, I became a squire to wait upon jades

But then was then, and now is now, so let that pass

I am as thou seest me. What care I the devil what I was.

Dissimulation

You say you go to London? In faith, have with you

, then

Simplicity

Nay, come and go with me, good honest man.

For if thou go with him, he will teach thee all his knavery,

There is none will go with him that hath any honesty.

A bots

on thy motley beard! I know thee, thou art Dissimulation!

And hast thou got an honest man’s coat to ’semble this fashion

I’ll tell thee what, thou wilt even ’semble and cog

with thine own father.

A couple of false knaves together, a thief and broker

Yet dost nothing but cog, lie, and foist

with hypocrisy.

You shall be hanged together, and go alone together for me!

Thou makst townsfolk believe thou art an honest man

in the country.

For if I should go too, the folks would say, we were knaves all three.

Enter Simony and Usury, hand in hand

Simony

Friend Usury, I think we are well-near

at our journey’s end.

But knowest thou whom I have espied?

Usury

No.

Simony

Fraud, our great friend!

Usury

And I see another that is now come into my remembrance.

Simony

Who is that?

Usury

Marry, Master Davy Dissimulation, a good helper and our old acquaintance.

Simplicity

Now all the cards in the stock

are dealt about,

The four knaves

in a cluster come ruffling out

Simony

What, Fraud and Dissimulation, happily found out!

I marvel, what piece of work

do you two go about?

Fraud

Faith, sir, we met by chance, and towards London are bent.

Usury

And to London we hie

; it is our chiefest intent

To see if we can get entertainment of the ladies or no.

Dissimulation

And for the selfsame matter even thither we go.

Simony

Then we are luckily well met, and, seeing we wish all for one thing,

I would we our wills an wishing might win

Simplicity

Yes they will be sure to win, the devil and all,

Or else they’ll make a man to spew out his gall

To the audience

Oh, that vile Usury, he lent my father a little money, and, for breaking one day

He took the fee-simple

of his house and mill quite away.

And yet he borrowed not half a quarter so much as it cost,

But I think if it had been but a shilling it had been lost.

So he killed my father with sorrow, and undid me quite

;

An you deal with him, sirs, you shall find him a knave full of spite.

And Simon-ay, per se, ay

, Simony too

, he is a knave for the nonce

He loves to have twenty livings at once

: An if he let an honest man as I am to have one, He’ll let it so dear

that he shall be undone.

And he seeks to get parsons’ livings into his hand,

And puts in some odd dunce that to his payment will stand;

So, if the parsonage be worth forty or fifty pound a year,

He will give one twenty nobles

to mumble service once a month there.

Simony and Usury

What rascal is he that speaks

by us such villainy?

Dissimulation

Sirs, he was at us erewhile too. It is no matter: it is a simple soul called Simplicity,

Enter Love and Conscience.

But here come two of the ladies. Therefore make ready.

Fraud

But which of us all shall first break the matter

Dissimulation

Marry, let Simony do it, for he finely can flatter.

Usury

Nay, sirs, because none of us shall have pre-eminence above other,

We will sing in fellowship together like brother and brother.

Simony

Of troth agreed, my masters, let it be so.

Simplicity

Nay, an they sing, I’ll sing too.

The Song.

Dissimulation, Usury, Fraud, Simony, and Simplicity

Good ladies, take pity, and grant our desire.

Consciencereply

Speak boldly and tell me what is’t you require.

Dissimulation, Usury, Fraud, Simony, and SimplicityTheir reply

Your service, good ladies, is that we do crave.

ConscienceHer reply

We like not nor list not

such servants to have.

Dissimulation, Usury, Fraud, Simony, and SimplicityTheir reply

If you entertain us, we trusty will be,

But if you refrain us

, then most unhappy.

We will come, we will run, we will bend at your beck

We will ply

, we will hie

, for fear of a check

ConscienceHer reply

You do feign, you do flatter, you do lie, you do prate

You will steal, you will rob

, you will kill in your hate.

I deny you, I defy you, then cease off your talking

I refrain

you, I disdain you! Therefore get you walking

End of the Song

Conscience

What Fraud, Dissimulation, Usury, and Simony, How dare you for shame presume so boldly.

As once to show yourselves before Love and Conscience,

Not yielding your lewd lives

first to repentance?

Think you not that God will plague your wicked practices

If you intend not to amend your lives so far amiss

Think you not God knows your thoughts, words, and works,

And what secret mischiefs

in your hearts there lurk

Then how dare you offend

his heavenly majesty

With your dissembling deceit, your flattery, and your usury?

Fraud

Tut, sirs, seeing Lady Conscience is so scrupulous,

I will not

speak to her

, for I see it is frivolous

turning to Love

But what say you, Lady Love, will you grant us favor?

Love

I’ll no such servants so ill of behavior,

Servants more fitter for Lucre than Love;

And happy are they which refrain for to prove

Shameless, pitiless, graceless, and quite past honesty. Then who of good conscience but will hate your company?

Usury

Here is scrupulous Conscience and nice

Love indeed

Tush, if they will not, others will

! I know we shall speed

Simplicity

But, lady, I stand still behind, for I am none of their company,

Conscience

Why, what art thou? Oh, I know, thou art Simplicity.

Simplicity

Ay, faith, I am Simplicity, and would fain serve ye.

Conscience

No, I may have no fools to dwell with me.

Simplicity

Why, then, Lady Love, will you have me then?

Love

Yes, Simplicity

, thou shalt be my man

Simplicity

But shall I be your goodman

Love

Yea, my good man, indeed.

Simplicity

Ay, but I would be your goodman

, and swap up

a wedding with speed

Love

No, Love may not marry in any case with Simplicity. But if thou wilt serve me, I’ll receive it

willingly,

And if thou wilt not, what remedy?

Simplicity

Yes, I’ll serve ye

, but will you go in to dinner, for I am hungry?

Love

Come, Lady Conscience, will you walk home from this

company?

Conscience

With right good will, for their sights likes

not me

Exeunt Love and Conscience.

Simplicity

Fraud is the clubbish knave

, and Usury the hard-hearted knave,

And Simony the diamond-dainty knave, And Dissimulation the spiteful knave of spade.

Come there any mo

’ knaves, come there any mo’?

I see four knaves stand on a row

Let Fraud run at him, and let Simplicity run in, and come out again straight.

Fraud

Away, drudge

! Be gone quickly.

Simplicity

Iwis

, do’e thrust out mine eyes

with a lady?

Exit Simplicity.

Usury

Did you ever see gentleman

so rated at

before?

But it skills not

. I hope one day to turn them both out at door

Simony

We were arrantly flouted

, railed at, and scoffed in our kind. That same Conscience is a vile terror to man’s mind.

Yet faith, I care not, for I have borne many more than these

When I was conversant with the clergy beyond the seas

And he that will live in this world must not care what such say,

For they are blossoms blown down, not to be found after May.

Fraud

Faith, care that care will, for I care not a point

I have shifted

hitherto

, and whilst I live I will jeopard a joint

And at my death I will leave my inheritor behind

That shall be of the right stamp

to follow my mind.

Therefore let them prate till their hearts ache and spit out their evil.

She cannot quail

me if she came in likeness of the great devil.

Dissimulation

Mass, Fraud, thou hast a doughty heart to make a hangman of

For thou hast good skill to help men from the coff

But we were arrantly flouted — yet I thought she had not known me,

But I perceive, though Dissimulation do disguise him, Conscience can see.

What though Conscience perceive it? All the world cannot beside!

Tush, there be a thousand places where we ourselves may provide.

But look, sirs, here cometh a lusty

lady towards us in haste;

But speak to her, if you will, that we may be all placed

Enter Lady Lucre.

Usury

I pray thee do, for thou art the likeliest to speed.

Dissimulation

Why then I’ll to it with a stomach

in hope of good speed

to Lucre

Fair lady, all the gods of good fellowship kiss ye—I would say bless ye

Lucre

Thou art very pleasant and full of thy rope-ripe

—I would say rhetoric.

Dissimulation

Lady you took me at the worst

; I beseech you, therefore,

To pardon my boldness, offending no more.

Lucre

We do — the matter is not great — but what wouldst thou have? How shall I call thee, and what is’t thou doest crave?

Dissimulation

I am called Dissimulation, and my earnest request Is to crave entertainment for me and the rest,

Whose names are Fraud, Usury, and Simony, Great carers for your health, wealth, and prosperity.

Lucre

Fraud, Dissimulation, Usury, and Simony, Now truly I thank you for proffering your service to me.

You are all heartily welcome, and I will appoint straightway

Where each one

in his office in great honor shall stay.

But, Usury, didst thou never know my grandmother, the old Lady Lucre of Venice

Usury

Yes, madam, I was servant unto her, and lived there in bliss.

Lucre

But why camest thou into England, seeing Venice is a city Where Usury by Lucre may live in great glory?

Usury

I have often heard your good grandmother tell, That she had in England a daughter which her far did excel,

And that England was such a place for Lucre to bide,

As was not in Europe and the whole world beside.

Then lusting greatly to see you and the country, she being dead,

I made haste to come over to serve you in her stead.

Lucre

Gramercy

, Usury, and doubt not but to live here

as pleasantly

And pleasanter too. But whence

came you, Simony? Tell me.

Simony

My birth, nursery

, and bringing up hitherto

hath been in Rome

, that ancient religious city

On a time

, the monks and friars made a banquet

, whereto

they invited me

With certain other English

merchants, which belike were of their familiarity.

So, talking of many matters, amongst others one began to debate Of the abundant substance still brought to that state.

Some said the increase of their substance and wealth Came from other princes, and was brought thither

by stealth.

But the friars and monks

, with all the ancient company,

Said that it first came and is now upholden by me, Simony,

Which the Englishmen gave ear to; then, they flattered a little too much

As English merchants can do

for advantage when increase it doth touch

And being a-shipboard, merry and overcome with drink on a day,

The wind served

, they hoist sail, and so brought me away,

And landing here I heard in what great estimation you were,

Made bold to

your honor to make my repair

Lucre

Well, Simony, I thank thee, but as for Fraud and Dissimulation, I know their long continuance and after what fashion

Therefore, Dissimulation, you shall be my steward

An office that every man’s case by you must be preferred

And you, Fraud, shall be my rent-gatherer, my letter of leases

, and my purchaser of land,

So that many old bribes will come to thy hand.

And, Usury, because I know you be trusty

, you shall be my secretary

To deal

amongst merchants, to bargain and exchange money.

And, Simony, because you are a sly fellow, and have your tongue liberal

We will

place you over

such matters as are ecclesiastical.

And though we appoint sundry offices where now ye are

in,

Yet jointly we mean

to use you together oft-times in one thing.

Fraud, Dissimulation, Simony, Usury

Lady, we rest at your command in aught

we can or may.

Lucre

Then, Master Davy, to my palace haste thee away,

And will Crafty Conveyance

, my butler, to make ready

The best fare in the house

to welcome thee and thy company

But stay, Dissimulation, myself

will go with thee.

Gentlemen, I’ll go before, but see

, in any case,

So soon as ye please, resort

to my place.

Simony

Doubt not, fair lady

, we will not long absent be.

Exeunt Dissimulation and Lucre; exit Fraud separately.

Usury

Fellow Simony, this fell out pat

, so well as heart could wish.

We are cunning anglers

; we have caught the fattest fish.

Certainly it is true

that her grandmother told: Here is good to be done by use of silver and gold.

And seeing we are so well settled in this country,

Rich and poor shall be pinched whosoever come to me.

Simony

Sirrah, being at Rome, and dwelling in the friary,

They would talk how England yearly sent over a great mass of money,

And that this little island was more worth to the pope Than three bigger realms that

had a great deal more scope.

For here were smoke-pence

, Peter pence

, and poll pence

to be paid,

Besides much other money that to the pope’s use was made.

Why, it is but lately since the pope received this fine, Not much more than thirty-three years

since – it was in Queen Mary’s time

But England

had never known what this gear

had meant,

Had Friar

Austin

from the pope not hither been sent.

For the pope, hearing it to be a little island, sent him with a great army

over,

And, winning the victory, he landed about Rye, Sandwich, or Dover.

Then he erected laws

having the people in subjection,

And for the most part,

England hath paid tribute so long.

I, hearing of the great store and wealth in the country,

Could not choose but persuade myself the people loved Simony.

Usury

But stay your talk till some other time; we forget my lady.

Simony

Of troth you say true, for she bade us make haste,

But my talk methought savored well, and had a good taste.

Exeunt ambo.

Scene 3 Video Sc. 3

Enter Mercadorus like an Italian merchant.

Mercadorus

Me judge in my mind-a dat

me be not very far

From de place

where dwells my Lady Lucar

But here come un-e shentleman-a

, so he do.

Enter Dissimulation.

Mercadorus

Pray ye heartily, signore,

let-a me speak-a you,

Pray ye, do ye know un shentleman dat Meshier Davy

do call?

Dissimulation

Yes, sir, myself am he,

and what would you withal

Mercadorus

Good-a my friend Meshier Davy, help-a me, pray ye heartily,

For have-a some acquaintance-a

with Madonna

Lucre, your lady.

Dissimulation

Sir, upon condition, I will; therefore I would you should know That on me and my fellows you must largely bestow —

Whose names are Fraud, Usury, and Simony, men of great credit and calling —

And to get my lady’s goodwill and theirs it is no small thing.

But tell me — can you be content to win Lucre by Dissimulation?

Mercadorus

Ay, good-a my friend, ax-a me

no shush

a question,

For he dat will live in de world

must be of the world sure,

And de world will love his own

, so long as the world endure.

Enter Lucre.

Dissimulation

I commend your wit, sir, but here comes my lady.

Mercadorus

Come hidder, here’s two, tree

crowns for de speak me.

Dissimulation

Well, sir, I thank you; I will go speak for you.

Lucre

Master Davy Dissimulation, what new acquaintance have ye gotten there?

Dissimulation

Such a one, madam, that unto your state hath great care. And surely in my mind the gentleman is worthy

To be well thought on for his liberality

, bounty, and great care to seek ye.

Lucre

Gentleman, you are heartily welcome. How are you called? I pray you, tell us.

Mercadorus

Madonna, me be a mershant

and be called Signor Mercadorus.

Lucre

But I pray you tell me what countryman?

Mercadorus

Me be, madonna, an Italian.

Lucre

Yet let me trouble ye, I beseech ye, whence came ye?

Mercadorus

For salva vostra buona grazia

, me come from Turkey.

Lucre

Gramercy. But, Signor Mercadore, dare you not undertake Secretly to convey

good commodities out of this country for my sake?

Mercadorus

Madonna, me do for love of you tink no pain too mush, And to do anyting for you me will not grush

Me will a forsake-a my fader, moder, king, country, and more den dat; Me will lie and forswear myself for a quarter so much as my hat.

What is dat for love of Lucre me dare or will not do? Me care not for all the world, the great Devil, nay make my God angry for you.

Lucre

You say well, Mercadorus, yet Lucre by this is not thoroughly won. But give ear and I will show what by thee must be done.

Thou must carry over wheat, peas, barley, oats, and vetches

, and all kind of grain,

Which is well sold beyond sea, and brings such merchants great gain.

Then thou must carry beside leather, tallow, beef, bacon, bell-metal

, and everything.

And for these good commodities, trifles into England

thou must bring,

As bugles

to make baubles

, colored bones, glass beads to make bracelets withal,

For every day gentlewomen of England do ask for such trifles from stall to stall,

And you must bring more, as amber, jet, coral, crystal, and every such bauble

That is slight, pretty, and pleasant; they care not to have it profitable.

And if they demand wherefore your wares and merchandize agree,

You must say jet will take up a straw

, amber will make one fat

Coral will look pale when you be sick

, and crystal will staunch blood

So with lying, flattering, and glozing

you must utter

your ware,

And you shall win me to your will, if you can deceitfully swear.

Mercadorus

Tink ye not dat me have carried over corn, ledar, beef, and bacon too all tis while?

And brought hedar

many baubles dese countrymen to beguile?

Yes, shall me tell you, madonna, me and my countrymans have sent over

Bell-metal for make ordnance

, yea, and ordnance itself beside,

Dat my country and other

countries be so well furnished as dis country, and has never been spied.

Lucre

Now I perceive you love me, and if you continue in this still,

You shall not only be with me, but command me when and where you will.

Mercadorus

Lady, for to do all dis and more for you me be content,

But I tink some scall

knave will put a bill in da Parliament,

For dat such a tings shall not be brought here.

Lucre

Tush, Mercadore, I warrant thee, thou needest not to fear. What an one do? There is some other will flatter and say They do no hurt to the country, and with a sleight

, fetch that bill away.

And if they do not so, that by act

of parliament it be passed,

I know you merchants have many a sleight and subtle cast

So that you will by stealth bring over great store,

And say it was in the realm a long time before.

For being so many of these trifles here as there is

at this day,

You may increase them at pleasure, when you send oversea,

And do but give the searcher

an odd bribe in his hand,

I warrant you, he will let you ’scape

roundly with such things in and out the land.

But, Signor

Mercadore, I pray you, walk in with me,

And as I find you kind

to me, so will I favor ye.

Mercadorus

Me tank my good lady. But Master Dissimulation, here is for

Your fellows, Fraud, Usury, and Simony, (Giving bags of money.) and say me give it dem.

Exeunt Lucre and Mercadorus.

Dissimulation

Ay, marry, sir, these bribes have welcome been

Good faith, I perceive Dissimulation, Fraud, Simony, and Usury

shall live

In spite of Love and Conscience, though their hearts it doth grieve.

To the audience

Mass, masters, he that cannot lie, cog, dissemble, and flatter nowadays

Is not worthy to live in the world, nor in the court to have praise.

Enter Artifex, an artificer

Artifex

I beseech you, good Master Dissimulation, befriend a poor man

To serve Lady Lucre, and sure, sir, I’ll consider hereafter

if I can

Dissimulation

What, consider me? Dost thou think that I am a bribe-taker? Faith, it lies not in me to further thy matter.

Artifex

Good Master Dissimulation, help me, I am almost quite undone

But yet my living hitherto with Conscience

I have won,

But my true working, my early rising, and my late going to bed

Is scant

able to find myself, wife, and children dry bread.

For there be such a sort of strangers

in this country

That work fine to please the eye, though it be deceitfully.

And that which is slight and seems to the eye well

Shall sooner than a piece of good work be proffered

to sell,

An our Englishmen be grown so foolish and nice

That they will not give a penny above the ordinary price

Dissimulation

Faith, I cannot help thee; ’tis my fellow Fraud must pleasure thee.

Here comes my fellow Fraud. Speak to him, and I’ll do what I can.

Enter Fraud.

Artifex

I beseech you, be good unto me, right honest gentleman.

Fraud

Why and whereto? What wouldst thou have me do?

Artifex

That my estate

you will so much prefer

As to get me to be a workman to Lady Lucre. And, sir, I doubt not but to please you so well for your pain,

That you shall think very well of me, if I in her service remain.

Dissimulation

Good fellow Fraud, do so much, for I see he is very willing to live, And some piece of work to thee for thy pains he will give.

Fraud

Well, upon that condition, I will, but I care not so much for his gifts, As that he will by my name declare how he came by his great thrifts

And that he will set out in every kind of thing

That Fraud is a good husband

and great profit doth bring.

Therefore the next piece of work that thou dost make,

Let me see how deceitful thou wilt do it for my sake.

Artifex

Yes, sir. I will, sir, of that be you sure.

I’ll honor your name while life doth endure.

Dissimulation

Fellow Fraud, here comes a citizen, as I deem.

Fraud

Nay, rather a lawyer, or some pettifogger

he doth seem.

Enter a Lawyer

Lawyer

Gentlemen

, my earnest suit is to desire ye That unto your lady’s service you would help me,

For I am an attorney of the law and pleader at the bar

And have a great desire to plead for Lady Lucre.

I have been earnest, sir, as is needful in such a case,

For fear another come before me and obtain my place.

I have pleaded for Love and Conscience till I was weary;

I had many clients

and many matters that made my purse light and my heart heavy.

Therefore let them plead for Conscience that list, for

;

I’ll plead no more for such as bring nothing but beggary.

Dissimulation

Sir, upon this condition: that you’ll keep men in law

Ten or twelve years for matters not worth

a straw,

And that you will make an ill matter seem good and firmable

indeed.

Faith, I am content for my part that you shall speed

Fraud

Nay, fellow, thou knowest that Simony and Usury hath an ill matter in law at this time.

Now if thou canst handle the matter so subtle and fine

As to plead that ill matter good and firmable at the bar

Then thou shalt show thyself worthy to win Lady Lucre.

Therefore tell me if you can and will do it or no.

If you do it, be sure to get my lady’s goodwill

ere you go.

Dissimulation

By my honesty, well remembered, I had quite forgot;

’Tis about that a fortnight ago fell out the matter, I wot

Lawyer

Tush, sir, I can make black white and white black again, Tut, he that will be a lawyer must have a thousand ways to feign,

And many times we lawyers do one befriend another,

And let good matters slip

Tut, we agree like brother and brother.

Why, sir, what shall let us to wrest and turn the law as we list

Seeing we have them printed in the palms of our fist?

Therefore doubt you not, but make bold report That I can and will plead their ill cause in good kind of sort.

Fraud

Of troth, how likest thou this fellow, Dissimulation?

Dissimulation

Marry, I like him well: he is a cunning clerk, and one of our profession

But come, sir, go with us and we will prefer you.

Artifex

Good Master Fraud, remember me.

Fraud

Leave thy prating! I will, I tell thee.

Artifex

Good Master Dissimulation, think on me,

Dissimulation

Thou art too importunate

and greedy.

Fraud

Come after dinner, or some other time when we are at leisure.

Exeunt Dissimulation, Fraud, and Lawyer.

Artifex

Come after dinner, or some other time indeed!

For full little do they think of a poor man’s need.

These fellows will do nothing for pity and love

And thrice happy are they that hath no need them to prove

God, he knows the world is grown to such a stay

That men must use Fraud and Dissimulation too, or beg by the way.

Therefore I’ll do as the most doeth, the fewest shall laugh me to scorn,

And be a fellow amongst goodfellows

to hold, by Saint Luke’s horn!

Exit.

Scene 4 Video Sc. 4

Enter Simplicity and Sincerity

Sincerity

Good Cousin Simplicity, do something for me

Simplicity

Yes, faith, Cousin Sincerity, I’ll do anything for thee!

What wouldst thou have me do for thee, canst tell that?

Mass, I cannot tell what shouldst do for me, except thou wouldst give me a new hat.

Sincerity

Alas, I am not able to give thee a new.

Simplicity

Why, then, I marvel

how thou dost do. Dost thou get thy living amongst beggars from door to door?

Indeed, Cousin Sincerity, I thought thou

wast not so poor.

Sincerity

Nay, Cousin Simplicity, I got my living hardly

, but yet I hope just

And with good conscience too, although I am restrainèd from my lust

But this it is

, Cousin Simplicity, I would request you do for me:

Which is, to get Lady Love’s and Lady Conscience’s hand to

a letter,

That by their means I may get some benefice

to make me live the better.

Simplicity

Yes I’ll do so much for thee, cousin, but hast thou any here?

Sincerity

Ay, behold, (Pulling out written letters) they are ready drawn, if a-signed they were.

Let Simplicity make as though he read it

, and look quite over. Meanwhile let Conscience enter.

Simplicity

Let me see, cousin, for I can read. Mass, ’tis bravely done! Didst thou it indeed?

Mistress Conscience, I have a matter to bequest you to

Conscience

What is’t? I doubt not but ’tis some wise thing if it be for you.

Simplicity

Marry, my Cousin Sincerity wad besire

to scribe these papers here

That he may get some preferment, but I know not where.

Conscience

Be these your letters? What would you have me do, and how shall I call ye?

Sincerity

Lady, my name is Sincerity.

Conscience

And from whence came ye?

Sincerity

I came from Oxford, but in Cambridge I studied late;

Having nothing, thought good, if I could, to make better my state.

But if I had, instead of divinity

, the law, astronomy, astrology,

Physiognomy, palmistry, arithmetic, logic, music, physic

, or any such thing,

I had not doubted then but to have had some better living.

But divines that preach the word of God sincerely and truly

Are in these days little or nothing set by

God grant the good preachers be not taken away for our unthankfulness.

There was never more preaching and less following; the people live so amiss.

But what is he that may

not on the Sabbath day attend to hear God’s word

But we will rather run to bowls

, sit at the alehouse, than one hour afford,

Telling a tale of Robin Hood, sitting at cards, playing at kettles

, or some other

vain thing,

That I fear God’s vengeance on your head

it will bring.

God grant amendment. But, Lady Conscience, I pray, In my behalf unto Lucre do what ye may.

Simplicity

Mass, my cousin can say his book well

. I had not thought it.

He’s worthy to have a benefice

, and it will hit

Conscience

God be blessed, Sincerity, for the good comfort I have of thee.

I would it lay in us to pleasure such, believe me.

We will do what we can, but ultra posse non est esse

, you know.

It is Lucre that hath brought us poor souls so low.

For we have sold our house, we are brought so poor,

And fear by her shortly to be shut out of door.

Yet to subscribe our name we will with all our heart.

Perchance for our sake some thing she will impart.

Come hither, Simplicity, let me write on thy back.

Simplicity

Here is the right picture of that fellow that sits in the corner

Enter Hospitality while she is a-writing.

Hospitality

Lady, methinks you are busy.

Conscience

I have done, sir. I was setting my hand to a letter to Lucre for our friend Sincerity,

But I would Lady Love were here too.

Hospitality

She is at home with me. But, if it please you, so much in her behalf I’ll do.

Conscience

I pray you heartily, and it shall suffice the turn

well enow

Good Simplicity, once more thy body do bow.

Simplicity

I think you’ll make me serve

to be a washing-block

for you.

I would do it for you, but am afraid yonder boy

will mock me.

Hospitality Signing letters

No, I’ll warrant thee.

Conscience

Here, take thy letters, Sincerity, and prosperous

be they to thee.

Sincerity

I yield you most hearty thanks, my good lady.

Hospitality

Lady Conscience, pleaseth it you to walk home and dine with me?

Conscience

Thanks, my good friend Hospitality.

But tell me, sir,

have you invited to dinner any strangers

Hospitality

No, sure, none but Lady Love

, and three or four honest neighbors.

Simplicity

Mass, my lady is gotten to dinner already.

I believe she rose at ten of clock

; she is so hungry.

What if I should come to dinner – is there any good cheer

Hospitality

There’s bread and beer, one joint of meat, and welcome thy best fare.

Simplicity

Why art thou called

Hospitality, and hast no better cheer than that?

Faith, an thou hast

no more meat for so many, they’ll ne’er be fat.

What if my cousin – nay, myself alone – to dinner should come?

Where should my lady and the rest dine? For I would eat up every crumb.

Thou art an old miser

— dost thou keep no better fare in thy house?

Hast no great bag pudding

, nor hog’s face, that is called souse

Hospitality

My friend, hospitality doth not consist in great fare

and banqueting

But in doing good unto the poor, and to yield them some refreshing.

Therefore, if thou and Sincerity will come and take part,

Such as there is I’ll give you with a free and willing heart.

Exeunt Hospitality and Conscience.

Simplicity

He speaks well, cousin; let’s go to dinner with him.

The old man shall not think but we will pleasure him.

Faith, he might have richer fellows to take his part

But he shall never have better eating fellows if he would swelt his heart

Here be they that will eat with the proudest of them.

For my mother said I could eat as much as five men.

Nay, I am sure the gift of eating is given to me,

For our maids would never believe I put all the meat in my belly.

But yonder comes a knave, my Lady Lucre’s cogging man

Give me your letters, cousin, I’ll prefer you if I can.

Enter Dissimulation.

Sincerity

Dissimulation! Out upon him – he shall be no spokeman

for me

Simplicity

Why then you are a fool, Cousin Sincerity,

Give me ’em, then

, for I know he’ll do it for me.

Sincerity

Seeing thou wilt have it, here, Giving Simplicity the letters receive it, but it grieves my heart

That this dissembling wretch should speak on my part.

Simplicity

Hear ye, sir, I would request to ’liver

this letter

To your good, wholesome mistress, Lady Lucre.

Dissimulation

Where hadst thou it, tell me?

Simplicity

Marry, of my Cousin Sincerity.

Dissimulation

Why, I have nothing to do in it; ’tis not to me thou should come.

I have naught to do with Sincerity’s matters; ’tis my fellow Simony’s room

Sincerity

Thou art a kin

to the lawyer; thou wilt do nothing without a fee,

But thou, Fraud, Usury, nor yet Simony shall have nothing of me.

And thou wilt do it, do it; and thou wilt not, choose

Both thee and their dealing I hate and refuse.

Dissimulation

Why, and I am not bound to thee so far as knave go,

And therefore, in despite of thee and thy cousin, Throwing down letters there thy letters be

What, thinkst thou by captious

words to make me do it?

Let them deliver your letters that hath a stomach to it.

Simplicity

Faith, cousin, he’s such a testern

and semblation

knave,

That he’ll do nothing ’less

some bribery he have.

There’s a great many such promoting knaves that gets their living With nothing else but facing

, lying, swearing, and flattering.

Why, he has a face like a black dog, and blusheth like the backside of a chimney.

’Twas not for nothing thy godfathers a cogging name gave thee.

Enter Lady Lucre.

Simplicity

But here comes his mistress, Lady Lucre.

Now, cousin, I’ll ’liver your letter.

Mistress Lady Lucre, here’s a letter for ye.

He holds out the letter.

Lucre

Hast thou a letter for me?

She accepts the letter and opens it.

Simplicity

Yes, by Saint Mary.

How say you, cousin? She reads your letter.

you can flatter, perhaps you shall speed better

Sincerity

Thou speakst the truth, Simplicity, for flatterers nowadays,

Live gentlemen-like, and with prating get praise.

Lucre

Sir, I have read the tenor

of your letter, wherein I find

That at the request of Love and Conscience I should show myself kind,

And bestow some spiritual living on you, parsonage or benefice,

For you stand greatly in need, as appears by this.

And, trust me, I

would do for you, but it lies not in me,

For all such matters are referred to my servant, Simony.

You must speak to him, and if you can get his goodwill

Then be sure of mine, their minds to fulfil.

Sincerity

Lady, I shall never get his goodwill, for want of ability

For he will do nothing except

one bring money,

And if you grant it not, then it is past all doubt;

I shall be never the nearer, but go quite without.

Dissimulation

Madam, I’ll tell you what you may give, Not hurting yourself, whereby he may live,

And without my fellow Simony’s consent,

If to follow my mind you are any whit bent

Lucre

Pray thee, what is it? For thou knowest while for their house I am bargaining,

An it be never so little

, I must seem to do something.

Dissimulation

Why, have not you the parsonage of Saint Nihil

to bestow?

If you give him that, Simony shall never know.

Lucre

Thou sayest true indeed. Motioning to Sincerity Draw near, Sincerity.

Lo, for their sakes I will bestow frankly on thee.

The parsonage of Saint Nihil I’ll give thee to pleasure them withal,

And such another to it, if thou watch till it fall

Simplicity To Lucre

My lady axes you when you will take possession of your house, and lend the rest of the money

Lucre

What, are they so hasty? Belike they spent it merrily

Simplicity

Faith, no, for they would eat it if they could get it when they are a-hungry.

(Speaking to Sincerity)

But you may be happy, for you have sped well to day.

You may thank God and good company that you came this way.

The parsonage of Saint Michael’s

; by’r lady, if you have nothing else,

You shall be sure of a living, beside a good ring of bells.

Cousin, I’ll tell thee what thou shalt do: sell the bells and make money

Sincerity

Thou mayest well be Simplicity for thou showest thy folly. I have a parsonage, but of what? Of Saint Nihil, and Nihil is nothing.

Then where is the church, or any bells for to ring? Thou understandest her not; she was set for to flout

I thought coming in their names I should go without.

’Tis easy to see that Lucre loves not Love and Conscience,

But God, I trust, will one day yield her just recompense.

Simplicity

Cousin, you said that something to me you would give,

When you had gotten preferment of Lucre to live,

And I trust you will remember your poor cousin Simplicity –

You know to Lady Conscience and e’rybody I did speak for you.

Sincerity

Good Simplicity, hold thy peace; my state is yet naught.

I will help thee, sure, if ever I get aught.

But here comes Sir Nicholas Nemo

– to him I will go And see if for their sakes he will anything bestow.

Enter Sir Nicholas Nemo.

Nicholas Nemo

You come from Love and Conscience, as seemeth me here,

My special good friends, whom I account of most dear.

And you are called Sincerity, your state shows the same;

You are welcome to me for their sakes, and for your own name.

And for their sakes you shall see what I will do for you,

Without Dissimulation, Fraud, Usury, or Simony,

For they will do nothing without some kind of gain;

Such cankered

corruption in their hearts doth remain.

But come in to dinner with me, and when you have dined,

You shall have —

Presently go out.

Sincerity

“You shall have” — but what? A living that is blown down with the wind.

Simplicity

Now, cousin, dismember

your friends, seeing two livings you have:

One that this man promised and another that Lady Lucre gave.

Mass, you’ll be a jolly man an you had three or four more —

Let’s beg apace

, cousin, and we shall get us great store.

Do thou get some more letters, and I’ll get them scribed of Mistresses Love and Conscience,

And we’ll go beg livings together. We’ll beg no small pence.

How sayest thou, cousin? Wut do so mich?

If we can speak fair

, and ’semble

, we shall be plaguey

rich.

Sincerity

Good Simplicity, content thee — I am never the better for this,

But of force must leave off, seeing how vain it is.

Nor boots it

Sincerity to look for relief.

So few regard that

to me is a grief.

This was Nicholas Nemo, and “no man” hath no place. Then how can I speed well in this kind of case?

And “no man” bid me to dinner — when shall I dine?

Or how shall I find him, where, when, and at what time?

Wherefore the relief had, and to be had, is small.

But to speak truth, the relief is nothing at all.

But come, Simplicity, let us go see what may be had.

Sincerity in these days was, sure, born to be sad.

Simplicity

Come, let’s go to dinner, cousin, for the gentleman, I think, hath almost dined.

But if I get victuals enough, I’ll warrant you I’ll not be behind.

Sincerity

What if thou canst not get it, then how wilt thou eat?

Simplicity

Marry

, on this fashion, He antomimes eating. with both hands at once, ye shall see when I get meat.

Sincerity

Why, his name was Nemo, and Nemo hath no being.

Simplicity

I believe, cousin, you be not hungry, that you stand prating. Faith, I’ll go do him a pleasure because he hath need.

Why, an he’ll needs have meat eat, ’a shall see how I’ll feed

I believe he will not bid me come again to him. Mass an he do, ’a shall find a fellow that has his eating.

Exeunt ambo

Scene 5 Video Sc. 5

Enter Usury and Conscience.

Usury

Lady Conscience, is there anybody within your house, can you tell?

Conscience

There is nobody at all, be ye sure. I know certainly well.

Usury

You know when one comes to take possession of any piece of land,

There must not be one within, for against the order of law it doth stand

Therefore I thought good to ask you, but, I pray you, think not amiss.

For both you and almost all other knows that an old custom it is.

Conscience

You say truth. Take possession when you please – good leave have ye.

Doubt you not, there is neither man, woman, nor child that will or shall hinder you.

Usury

Why then I will boldly enter.

Exit.

Conscience

Who is more bold than Usury to venture

He maketh the matter dangerous where is no need at all,

But he thinks it not perilous to seek every man’s fall.

Both he and Lucre hath so pinched us, we know not what to do.

Were it not for Hospitality, we knew not whither to go.

Great is the misery that we poor ladies abide

And much more is the cruelty of Lucre and Usury beside.

Oh, Conscience, thou art not accounted of; Oh, Love, thou art little set by

For almost everyone true love and pure conscience doth deny.

So hath Lucre crept unto the bosom of man, woman, and child,

That everyone doth practise his dear friend to beguile

But God grant Hospitality be not by them overpressed

In whom all our stay

and chiefest comfort doth rest.

But Usury hates Hospitality and cannot him abide, Because he for the poor and comfortless doth provide.

Here he comes, that hath undone many an honest man,

And daily seeks to destroy, deface, and bring to ruin if he can.

— Now, sir, have you took possession as your dear lady willed you?

Enter Usury.

Usury

I have done, and I think you have received your money,

But this (giving eviction notice

) to you: my lady willed me to bid you provide some other house out of hand

For she would not by her will have Love and Conscience to dwell on her land.

Therefore, ’tis best to provide

ye!

So shall you save charges, for a lesser

house may serve ye.

Conscience

I pray you heartily, let us stay there and we will be content To give you ten pound a year, which is the old rent.

Usury

Ten pound a year? That were a stale jest

If I should take the old rent, to follow your request,

Nay, after forty pound a year you shall have it for a quarter

And you may think, too, you are befriended in this matter —

But no longer than for a quarter to you I’ll set it

For my lady perhaps will sell it, or to some other will let it.

Conscience

Well, sith we are driven to this hard and bitter drift

We accept it, and are contented to make bare and hard shift

Usury

Then get you gone, and see at a day

your rent be ready.

Conscience

We must have patience, perforce

, seeing there is no remedy.

Exit Conscience.

Usury

What a fool was I to let it so reasonable?

I might so well have had after threescore

, as such a trifle,

For seeing they were distressed they would have given largely.

I was a right sot

, but I’ll be overseen

no more — believe me.

Enter Mercadorus.

Mercadorus

Ah my good-a friend Master Usury, be my trot

you be very well met.

Me be mush beholding to you for your good will – me be in your debt.

But-a me take-a your part so much against a scall shurl

called Hospitality,

Did speak against you, and says you bring good honest men to beggary.

Usury

I thank you, sir. Did he speak such evil of me as now you say?

I doubt not but to reward him for his treachery one day.

Mercadorus

But, I pray, tell-a me how fare-a my lady all dis while?

Usury

Marry, well, sir, and here she comes, if myself I do not beguile

Enter Lucre.

Lucre

What, Signor Mercadore? I have not seen you this many a day.

I marvel what is the cause you kept so long away.

Mercadorus

Shall me say to you, Madama, dat me have had such business for you in hand,

For send away good commodities out of dis little country England.

Me have now sent over brass, copper, pewter, and many odar ting,

And for dat me shall ha’ for gentlewomans fine trifles

, that great profit will bring.

Lucre

I perceive you have been mindful of me, for which I thank ye.

But Usury, tell me, how have you sped in that you went about?

Usury

Indifferently, lady, you need not to doubt.

I have taken possession, and because they were destitute,

I have let it for a quarter, my tale to conclude.

Marry, I have a little raised the rent, but it is but after forty pound by the year,

But if it were to let now, I would let it more dear.

Lucre

Indeed it is but a trifle; it makes no matter.

I force it not greatly, being but for a quarter.

Mercadorus

Madonna me-a tell you vat you shall do: let dem to stranger

dat are content,

To dwell in a little room, and pay mush rent.

For you know da Frenchmans and Flemings

in dis country be many,

So dat they make shift to be ten houses in one

very gladly.

And be content-a for pay fifty or threescore pound a year,

For dat which da Englishmans say twenty mark

is too dear.

Lucre

Why Signor Mercadore, think you not that I

Have infinite numbers in London that my want doth supply?

Beside in Bristol, Northampton, Norwich,

West Chester

, Canterbury

Dover, Sandwich, Rye, Portsmouth, Plymouth

, and many mo’.

That great rents upon little room do bestow.

Yes, I warrant you, and truly I may thank the strangers

for this,

That they have made houses so dear, whereby I live in bliss.

But Signor Mercadore, dare you to travel undertake,

And go amongst the Moors

, Turks, and pagans for my sake?

Mercadorus

Madonna, me dare go to de Turks, Moors, pagans, and more, too.

What do me care an me go to da great devil for you?

Command-a me, madonna, and you sall see plain,

Dat-a for your sake me refuse-a no pain.

Lucre

Then, Signor Mercadore, I am forthwith to send ye

From hence, to search for some new toys in Barbary

or in Turkey

Such trifles as you think will please wantons

best,

For you know in this country ’tis their chiefest request.

Mercadorus

Indeed, de gentlewomans here buy so mush vain toys,

Dat me strangers

laugh-a to tink wherein da have deir joys.

Fait, madonna, me will search all da strange countries me can tell,

But me will have sush tings dat please dese gentlewomans well.

Lucre

Why then let us provide things ready to haste you away.

Mercadorus

A vostro commandamento

, madonna, me obey.

Exeunt.

Scene 6 Video Sc. 6

Enter Simony, and Peter Pleaseman, like a priest

Simony

Now proceed with thy tale and I’ll hear thee.

Peter Pleaseman

And so, sir, as I was about to tell you,

This same Presco and this same Cracko

be both my parishioners now;

And, sir

, they fell out

marvelously about you.

The same Cracko took your part, and said that the clergy

Was maintained by you, and upholden very worshipfully.

So, sir, Presco, he would not grant that in any case,

But said that you did corrupt the clergy, and dishonor that holy place.

Now, sir, I was weary to hear them at such great strife,

For I love to please men so long as I have life.

Therefore I beseech your mastership to speak to Lady Lucre,

That I may be her chaplain, or else to serve her.

Simony

What is your name?

Peter Pleaseman

Sir Peter.

Simony

What more?

Peter Pleaseman

Forsooth, Pleaseman.

Simony

Then your name is Sir Peter Pleaseman?

Peter Pleaseman

Yea, forsooth.

Simony

And please woman too, now and then?

Peter Pleaseman

You know that homo is indifferent

Simony

Now, surely, a good scholar in my judgment!

I pray you, of what university were ye?

Peter Pleaseman

Of no university, truly.

Marry, I have gone to school in a college

, where I have studied two or three places of divinity

And all for Lady Lucre’s sake, sir – you may steadfastly believe me.

Simony

Nay, I believe ye, but of what religion are you, can ye tell?

Peter Pleaseman

Marry, sir, of all religions: I know not myself very well.

Simony

You are a Protestant now, and I think to that now will grant.

Peter Pleaseman

Indeed, I have been a Catholic. Marry, now for the most part a Protestant.

But an if my service may please her, hark in your ear, sir,

I warrant you my religion shall not offend her.

Simony

You say well, but if I help you to such great preferment,

Would you be willing, for my pain,

I shall have yearly half the gain?

For it is reason, you know, that if I help you to a living,

That you should unto me be somewhat beholding.

Peter Pleaseman

Yea, sir, and reason good,

I’ll be as your mastership please;

I care not what you do so I may live at ease.

Simony

Then this man is answered.

Sir Peter Pleaseman, come with me,

And I’ll prefer you straightway to my lady.

Peter Pleaseman

Oh, sir, I thank ye.

Exeunt.

Scene 7 Video Sc. 7

Enter Simplicity with a basket on his arms.

Simplicity To the audience

You think I am going to market to buy roast meat, do ye not?

But see how you are deceived – for well I wot

I am neither going to the butcher’s to buy mutton, veal, nor beef,

But am going to a bloodsucker. And who is it? Faith, Usury, that thief.

Why, sirs, ’twas no marckle

he undoed

my father, that was called Plain-Dealing,

When he has undone my lady and Conscience too with his usuring.

Trust him not, sirs, for he’ll flatter boniacion and sore

Till he has gotten the baker’s ’vantage

– then he’ll turn you out of door.

Enter Dissimulation.

Dissimulation

Simplicity, now of mine honesty, very heartily well met.

Simplicity

What, Semblation

, swear not, for thou swearest by that thou couldst never get!

Thou have honesty now? Thy honesty is quite gone.

Marry, thou hadst honesty at eleven of clock, but it went from you ere noon.

Why, how canst thou have honesty when it dare not come nigh

thee?

I warrant, Semblation, he that has less honesty than thou, may defy thee.

Thou hast honesty, sir-reverence

, come out, dog, where art thou?

Even as much honesty as hath my mother’s great hoggish sow!

No, faith, thou maist put out mine eye with honesty an thou hadst it here;

Hast not left it at the alehouse in gage

for a pot of strong beer?

Dissimulation

Pray thee, leave prating

, Simplicity, and tell me what thou hast there?

Simplicity

Why, ’tis nothing for thee – thou dost not deal with such kind of ware.

Sirrah, there is no beceit

in a bag pudding

, is there? Nor in a plain pudding pie

Sirrah, I’ll tell thee ... I will not tell thee ... and yet I’ll tell thee, now I ’member me, too.

Canst tell, or wouldst know whither with this parliament

I go?

Faith, even to Suck-swill

, thy fellow Usury, I am sent

With my Lady Love’s gown, and Lady Conscience’s , too, for a quarter rent.

Dissimulation

Alas, poor Lady Love, art thou driven so low?

Some little pittance on thee I’ll bestow.

Hold, Simplicity, carry her three or four ducats

from me.

And commend me to her even very heartily.

Simplicity

Duck eggs?

Yes, I’ll carry them, and ’twere as many as this

would hold.

Dissimulation

Tush

, thou knowest not what I mean. Offering coins Take this; ’tis gold.

Simplicity

Mass

, ’tis gold indeed. Why, wilt lend away thy gold? Hast thou no more need?

I think thou art grown plaguey

rich with thy dissembling trade,

But I’ll carry my lady the gold, for this will make her well apaid

Dissimulation

And sirrah, carry Lady Love’s gown back again, for my fellow Usury

Shall not have her gown! I am sure so much he will befriend

me.

Simplicity

But what shall Conscience’s gown do – shall I carry it back again?

Dissimulation

Nay, let Conscience’s gown and skin to Usury go.

If nobody cared for Conscience more than I, They would hang her up like bacon in a chimney to dry.

Simplicity

Faith, I told thee thou caredst not for Conscience

nor honesty;

I think indeed it will never be the death of thee.

But I’ll go conspatch my arrant

so soon as I can tell ye,

For now I ha’ gold, I would fain have some good meat in my belly.

Exit.

Dissimulation

Nay, I’ll hie me after, that I may send back Lady Love’s gown.

For I would not have Love bought quite out of town

Marry, for Conscience, tut, I care not two straws.

Why I should take care for her,I know no kind of cause.

Scene 8 Video Sc. 8

Enter Hospitality.

Hospitality

Oh, what shall I say? Usury hath undone me, and now he hates me to the death,

And seeks by all means possible for to bereave me of breath.

I cannot rest in any place but he hunts and follows me everywhere,

That I know no place to abide – I live so much in fear.

But out, alas

, here comes he that will shorten my days.

Enter Usury.

Usury

Oh, have I caught your old gray beard? You be the man whom the people so praise;

You are a frank

gentleman and full of liberality.

Why, who had all the praise in London or England but Master Hospitality?

But I’ll master you now,I’ll hold

you a groat

Hospitality

What, will you kill me?

Usury

No, I’ll do nothing but cut thy throat.

Hospitality

Oh, help, help, help, for God’s sake!

Enter Conscience running apace

Conscience

What lamentable cry was that I heard one make?

Hospitality

Oh, Lady Conscience, now or never, help me!

Conscience

Why, what wilt thou do with him, Usury?

Usury

What will I do with him? Marry, cut his throat, and then no more.

Conscience

Oh, dost thou not remember that thou shalt dearly answer for Hospitality, that good member

? Refrain it, therefore.

Usury

Refrain me no refraining, nor answer me no answering

The matter is answered well enough in this thing

Conscience

For God’s sake spare him! For country’s sake spare him! For pity’s sake spare him! For Love’s sake spare him! For Conscience’s sake forebear him!

Usury

Let country, pity, Love, Conscience, and all go in respect of myself

He shall die! Come, ye feeble wretch, I’ll dress

ye like an elf

Conscience

But yet, Usury, consider the lamentable cry of the poor. For lack of hospitality, fatherless children are turned out of door.

Consider again the complaint of the sick, blind, and lame, That will cry unto the Lord for vengeance on thy head in his name.

Is the fear of God so far from thee that thou hast no feeling at all?

Oh, repent, Usury, leave Hospitality, and for mercy at the Lord’s hands call.

Usury

Leave prating, Conscience – thou canst not mollify

my heart.

He shall in despite of thee and all other feel his deadly smart

. Yet I’ll not commit the murder openly,

But hale

the villain into a corner, and so kill him secretly.

Come, ye miserable drudge

, and receive thy death.

Hale him in.

Hospitality

Help, good lady, help! He will stop my breath!

Conscience

Alas, I would help thee, but I have not the power.

Hospitality

Farewell, Lady Conscience. You shall have Hospitality in London nor England no more.

Conscience

Oh, help! Help! Help, some good body!

Enter Dissimulation and Simplicity hastily.

Dissimulation

Who is that calls for help so hastily

Conscience

Out, alas! Thy fellow Usury hath killed Hospitality!

Simplicity

Now? God’s blessing on his heart! Why, ’twas time he were dead.

He was an old churl

, with never a good tooth in his head

. And he ne’er kept no good cheer

that I could see;

For if one had not come at dinner-time, he should have gone away hungry.

I could never get my belly full of meat; He had nothing but beef, bread, and cheese for me to eat.

Now I would have had some pies, or bag-puddings

with great lumps of fat,

But he did keep my mouth well enough from that.

Faith, an

he be dead, he is dead. Let him go to the devil an he will.

Or if he will not go thither, let him even lie there still.

I’ll ne’er make a lamentation for an old churl

For he has lived a great while, and now ’tis time that he were out of the world.

Enter Lucre with Simony

Lucre

What, Conscience, thou lookst like a poor pigeon pulled

of late.

Conscience

What, Lucre, thou lookst like a whore full of deadly hate.

Lucre

Alas, Conscience, I am sorry for thee but cannot weep.

Conscience

Alas, Lucre, I am sorry for thee that thou canst no honesty

keep.

But such as thou art, such are thy attenders on thee, As appears by thy servant, Usury, that hath killed that good member Hospitality.

Simplicity

Faith, Hospitality is killed and hath made his will,

And hath given Dissimulation three trees upon a high hill

Lucre

Come hither, Dissimulation, and hie you

hence so fast as you may,

And help thy fellow Usury to convey himself out of the way.

Further, will

the justices, if they chance to see him, not to know

him,

Or, know him, not by any means to hinder him.

And they shall command thrice so much at my hand

Go! Trudge, run, out, away! How, dost thou stand?

Dissimulation

Nay, good lady, send my fellow Simony,

For I have an earnest suit to ye.

Lucre

Then Simony, go do what I have willed.

Simony

I run, madam. Your mind shall be fulfilled.

Exit Simony.

Conscience

Well, well, Lucre, audio et taceo

: I see and say nothing.

But I fear the plague of God on thy head it will bring.

Dissimulation

Good lady, grant that Love be your waiting-maid.

For I think being brought so low, she will be well apaid

Lucre

Speakest thou in good earnest

, or doest thou but dissemble?

I know not how to have thee; thou art so variable.

Dissimulation

Lady, though my name be Dissimulation, yet I speak bona fide

now.

If it please you my petitions

to allow.

Enter Simony.

Lucre

Stand by, I’ll answer thee anon. Addressing Simony What news, Simony,

Bringest thou of thy fellow Usury?

Simony

Marry, madam, good news, for Usury lies close

Hid in a rich man’s house, that will not let him loose

Until they see the matter brought to a good end,

For Usury in this country hath many a good friend.

And late I saw Hospitality carried to burying.

Lucre

I pray thee, tell me, who were they that followed him

Simony

There were many of the clergy, and many of the nobility,

And many right worshipful rich citizens,

Substantial, gracious

, and very wealthy farmers.

But to see how the poor followed him – it was a wonder.

Never yet at any burial was seen such a number.

Lucre

But what say the people to the murder?

Simony

Many are sorry, and say ’tis great pity that he was slain,

But who be they? The poor, beggarly people that so complain.

As for the other, they say ’twas a cruel, bloody fact

But I perceive none will hinder the murderer for this cruel act.

Lucre

’Tis well; I am glad of it. Now, Dissimulation, if thou canst get Love’s goodwill,

I am contented with all my heart to grant thereun’til.

Dissimulation

Thanks to you, lady, and I doubt not but she,

With a little entreaty, will thereto agree.

Simplicity

Now I have it in my breeches

, and very well can tell,

That I and my lady with Mistress Lucre shall dwell.

But if I be her serving fellow, and dwell there,

I must learn to cog, lie, foist, and swear

;

And surely I shall never learn. Marry, and ’twere to lie abed

all day,

To that kind of lying I should give a good say

. Or if ’twere to eat one’s meat, then I knew what for to do.

How say you, sirrah

, can I not? I’ll be drudge by you

Lucre

Now to you, little mouse

, did I not tell you before

That I should, ere ’twere long, turn you both out of door?

How say you, pretty soul, is’t come to pass, yea or no?

Methinks I have pulled your peacock’s plumes somewhat low.

And yet you be so stout

as though you felt no grief,

But ere it be long, you will come puling

to me for relief.

Conscience

Well, Lucre, well; you know pride will have a fall.

What availeth it

thee to win the world and lose thy soul withal

Yet better it is to live with little, and keep a conscience clear,

Which is to God a sacrifice, and accounted of most dear.

Lucre

Nay, Conscience, an you be bookish

, I’ll leave ye,

And the cold ground to comfort your feet I’ll bequeath ye

Methinks you, being so deeply learned, may do well to keep a school

Why, I have seen so cunning a clerk

in time to prove a fool.

Exeunt Lucre and Simony.

Simplicity

Sirrah, if thou shouldst marry my lady, thou wouldst keep her brave

For methinks thou art a plaguey rich knave

Dissimulation

Rich I am, but as for knave – keep to thyself

Come, give me my lady’s gown, thou ass-headed elf

Simplicity

Why, I’ll go with thee, for I must dwell with my lady.

Dissimulation

Pack!

Hence!

Away, Jack Drum’s entertainment

! She will none of thee.

Exit Dissimulation

Simplicity

This is as

my cousin and I went to Master Nemo’s house:

There was no man to bid a dog drink, or to change a man a louse

But Lady Conscience – nay, who there?

– scratch that name away.

Can she be a lady that is turned out of all her array

Do not be called no more lady an if you be wise, For everybody will mock you, and say you be not worth two butterflies.

Conscience

What remedy, Simplicity? I cannot do withal

But what shall we go do? Or whereto shall we fall?

Simplicity

Why, to our victuals

! What else have we to do?

And mark if I cannot eat twenty times so much as you.

Conscience

If I go lie in an inn, it will grieve me to see

The deceit of the ostler

, the polling of the tapster

, as in most houses of lodging they be.

If in a brewer’s house, at the over-plenty of water

and scarceness of malt, I should grieve,

Whereby to enrich themselves, all other with unsavory thin drink they deceive.

If in a tanner

’s house, with his great deceit in tanning;

If in a weaver’s house, with his great cozening

in weaving;

If in a baker’s house, with light bread

, and very evil working

;

If in a chandler’s

with deceitful weights, false measures, selling for a halfpenny

that is scant worth a farthing.

And if in an alehouse, with the great resort of poor unthrifts

, that with swearing at the cards consume their lives,

Having greater delight to spend a shilling that way than a groat at home

to sustain their needy children and wives.

For which I judge it best for me to get some solitary place

Where I may with patience this my heavy cross embrace,

And learn to sell broom

, whereby to get my living,

Using that as a quiet mean to keep myself from begging

Wherefore, Simplicity, if thou wilt do the like,

Settle thyself to it, and with true labor thy living do seek.

Exit Conscience.

Simplicity

No, faith, Mistress Conscience, I’ll not; for an I should sell broom

The maids would cozen me too competually with their old shoon

And, too, I cannot work, and you would hang me out of the way;

For when I was a miller, Will

did grind the meal while I did play.

Therefore I’ll have as easy an occupation as I had when my father was alive

Faith, I’ll go even a-begging. Why, ’tis a good trade; a man shall be sure to thrive,

For I am sure my prayers will get bread and cheese, and my singing will get me drink.

Then shall not I do better than Mistress Conscience? Asking audience

Tell me as you think.

Therefore, god Pan in the kitchen and god Pot in the buttery

Come and resist me, that I may sing with the more meliosity

But, sirs, mark my cauled

countenance when I begin.

But yonder is a fellow

that gapes to bite me, or else to eat that which I sing.

Why, thou art a fool! Canst not thou keep thy mouth strait together

And when it comes, snap at it, as my father’s dog would do at a liver? But thou art so greedy,

That thou thinkest to eat it before it come nigh thee.

Simplicity sings.

Simplicity sings, and ’sperience doth prove,

No biding

in London for Conscience and Love.

The country hath no peer

Where Conscience comes not once a year, And Love so welcome to every town,

As wind that blows the houses down.

Sing down a-down, down, down, down.

Simplicity sings it, and ’sperience doth prove, No dwelling in London, no biding in London, for Conscience and Love.

Speaking

Now, sirrah, hast eaten up my song? And ye have, ye shall eat no more to day,

For everybody may see your belly is grown bigger with eating up our play.

He has filled his belly, but I am never a whit the better,

Therefore I’ll go seek some victuals; and ’member, for eating up my song you shall be my debtor.

Exit.

Scene 9 Video Sc. 9

Enter Mercadorus, the merchant, and Gerontus, a Jew

Gerontus

But Signor Mercadorus, tell me, did ye serve me well or no,

That having gotten my money would seem the country to forgo

You know I lent you two thousand ducats

for three months’ space,

And ere the time came, you got another thousand by flattery and thy smooth face.

So when the time came that I should have received my money,

You were not to be found, but were fled out of the country.

Surely if we that be Jews should deal so one with another, We should not be trusted again of our own brother.

But many of you Christians make no conscience to falsify your faith and break your day

I should have been paid at three months’ end, and now it is two year you have been away.

Well I am glad you be come again to Turkey

Now, I trust, I shall receive the interest of you so well as the principal.

Mercadorus

Ah, good-a Master Geronto, pray heartily, bear-a

me a little while,

And me shall pay ye all without any deceit or guile. Me have much business for buy pretty knacks

to send to England.

Good sir, bear-a me four, five days. Me’ll dispatch your money out of hand

Gerontus

Signor Mercadore, I know no reason why, because you have dealt with me so ill.

Sure you did it not for need, but of set purpose and will.

And to bear with ye four or five days goes sore against my mind.

Lest you should steal away, and forget to leave my money behind.

Mercadorus

Pray heartily, do tink no such ting, my good friend, a me.

By me trot and fait, me’ll pay you all, every penny.

Gerontus

I’ll take your faith and troth once more, and trust to your honesty

In hope that for my long tarrying

you will deal well with me.

Tell me, what good ware for England you do lack?

Mercadorus

Oh, no lack some pretty, fine toy, or some fantastic new knack. For da gentlewomans in England buy mush tings for fantasy.

You pleasure-a me, sir, vat me mean-a dereby

Gerontus

I understand you, sir, but keep touch with me and I’ll bring you to great store,

Such as I know you came to this country for,

As musk, amber, sweet powders, fine odors, pleasant perfumes, and many such toys,

Wherein I perceive consisteth that country gentlewomen joys.

Besides, I have diamonds, rubies, emeralds, sapphires, smaragdines

, opals, onyxes, jacinths

, agates

, turquoise

, and almost of all kind of precious stones

And many fit things to suck money from such green-headed wantons

Mercadorus

Fait-a, me good friend, me tank you most heartily alway. Me shall-a content your debt within dis two or tree day.

Gerontus

Well, see you hold your promise, and another time you shall command me.

Come, go we home, where our commodities

you may at pleasure see.

Scene 10 Video Sc. 10

Enter Conscience, with brooms at her back, singing as followeth

ConscienceNew brooms, green brooms, will you buy any,

Come maidens, come quickly, let me take a penny.

My brooms are not steeped

, But very well bound;

My brooms be not crooked, But smooth-cut and round.

I wish it should please you

To buy my broom. Then would it well ease me,

If market were done.

Have you any old boots,

Or any old shoes,

Pouch-rings

, or buskins

To cope

for new broom?

If so you have, maidens, I pray you bring hither,

That you and I friendly May bargain together.

New brooms, green brooms, will you buy any?

Come, maidens, come quickly, let me take a penny.

Conscience speaketh.

Thus am I driven to make a virtue of necessity, And seeing God almighty will have it so, I embrace it thankfully,

Desiring God to mollify and lessen Usury’s hard heart,

That the poor people feel not the like penury and smart

But Usury is made tolerable amongst Christians as a necessary thing,

So that going beyond the limits of our law, they extort, and many to misery bring.

But if we should follow God’s law

, we should not receive above that we lend

For if we lend for reward how can we say we are our neighbor’s friend?

Oh, how blessed shall that man be that lends without abuse, But thrice accursed shall he be that greatly covets use

For he that covets overmuch, insasiate

is his mind,

So that to perjury and cruelty he wholly is inclined.

Wherewith

they sore oppress the poor by diverse, sundry

ways,

Which makes them cry unto the Lord to shorten cutthroats’ days.

Paul

calleth them thieves that doth not give the needy of their store,

And thrice-accursed are they that take one penny from the poor,

But while I stand reasoning thus, I forget my market clean

And sith God hath ordained this way, I am to use the mean

Sing again.

Conscience

“Have ye any old shoes, Or have ye any boots? Have ye any buskins, Or will ye buy any broom?”

Who bargains or chops

with Conscience? What, will no customer come?

Enter Usury.

Usury

Who is it that cries brooms? What, Conscience selling brooms about the street?

Conscience

What, Usury, it is great pity thou art unhanged yet.

Usury

Believe me, Conscience, it grieves me thou art brought so low.

Conscience

Believe me, Usury, it grieves me thou wast not hanged long ago, For if thou hadst been hanged before thou slewest Hospitality,

Thou hadst not made me and thousands more to feel the like poverty.

Enter Lucre.

Lucre

Methought I heard one cry brooms along the door.

Usury

Aye, marry, madam, it was Conscience, who seems to be offended at me very sore.

Lucre

Alas, Conscience, art thou become a poor broom-wife

Conscience

Alas, Lucre, wilt thou continue a harlot

all days of thy life?

Lucre

Alas, methinks it is a grief to thee that thou art so poor.

Conscience

Alas, Lucre, methinks it is no pain to thee that thou still playest the whore.

Lucre

Well, well, Conscience, that sharp tongue of thine hath not been thy furtherance.

If thou hadst kept thy tongue, thou hadst kept thy friend

, and not have had such hindrance.

But wottest

thou who shall be married tomorrow?

Love with my Dissimulation. For I think to bid the guests—they are by this time well nigh gone

And having occasion

to buy brooms

, I care not if I buy them all.

Conscience

Then give me a shilling, and, with a good will, have them you shall.

Lucre

Usury, carry in these brooms, and give them to the maid, For I know of such store she will be well apaid

Exit Usury with the brooms.

Hold, Conscience, though thy brooms be not worth a quarter so much,

Yet to give thee a piece of gold I do it not grutch

And if thou wouldst follow my mind, thou shouldst not live in such sort,

But pass thy days with pleasure store of every kind of sport.

Conscience

I think you lead the world in a string

, for everybody follows you.

And sith everyone doth it, why may not I do it too?

For that I see your free heart and great liberality

I marvel not that all people are so willing to follow ye.

Lucre

Then, sweet soul, mark what I would have thee do for me,

That is: to deck up

thy poor cottage handsomely:

And for that purpose I have five thousand crowns

in store,

And when it is spent, thou shalt have twice so much more.

But only see thy rooms be neat when I shall thither resort

With familiar friends to pass the time in sport

For the deputy, constable, and spiteful neighbors do spy, pry, and eye about my house,

That I dare not be once merry within, but still mute like a mouse.

Conscience

My good Lady Lucre, I will fulfill your mind

in every kind of thing.

So that you shall be welcome at all hours, whosoever you bring.

And all the dogs in the town shall not bark at your doings

, I trow,

For your full pretense and intent I do thoroughly know

Even so well as if you had opened the very secrets of your heart,

For which I doubt not but to rest in your favor by my desert

But here comes your man, Usury.

Enter Usury.

Lucre

I’ll send him home for the money.

Usury, step in and bring me the box of all abomination that stands in the window.

It is little and round, painted with diverse colors, and is pretty to the show.

Usury

Madam, is there any superscription thereon?

Lucre

Have I not told you the name? For shame, get you gone.

Exit Usury.

Well, my wench

, I doubt not but our pleasures shall excel,

Seeing thou hast got a corner fit

, where few neighbors dwell

And they be of the poorest sort, which fits our turn

so right,

Because they dare not speak against our sports and sweet delight.

And if they should … alas, their words would not at all be weighed,

And for to speak before my face, they will be all afraid.

Enter Usury with a painted box of ink and a bag of gold coins

in his hand.

Usury

Madam, I deem this same be it, so far as I can guess.

Lucre

Thou sayest the truth. ’Tis it in deed; the outside shows no less. But, Usury, I think Dissimulation hath not seen you since your coming home.

Therefore go see him; he will rejoice when to him you are shown.

It is a busy time with him. Help to further him if you can.

Usury

He may command me to attend at board to be his man

Exit Usury. Here, let Lucre open the box, and dip her finger in it, and spot Conscience’s face

, saying as followeth.

Lucre

Hold here, my sweet, and then over to see what doth want;

The more I do behold this face, the more my mind doth vaunt

This face is of favor

, these cheeks are reddy

and white,

These lips are cherry-red, and full of deep delight.

Quick-rolling eyes

, her temples high and forehead white as snow,

Her eyebrows seemly

set in frame, with dimpled chin below.

Oh, how beauty hath adorned thee with every seemly hue: In limbs, in looks, with all the rest proportion keeping due.

Sure, I have not seen a finer soul in every kind of part.

I cannot choose but kiss thee with my lips, that love thee with my heart

Conscience

I have told the crowns

, and here are just so many as you to me did say.

Lucre

Then, when thou wilt thou mayest depart, and homewards take thy way, And I pray thee make haste in decking of thy room

That I may find thy lodging fine when with my friend I come.

Conscience

I’ll make speed, and where I have with brooms oft-times been roaming

I mean henceforth not to be seen, but sit to watch your coming

Exit Conscience.

Lucre

Oh, how joyful may I be that such success do find.

No marvel, for poverty and desire of Lucre do force them follow my mind.

Now may I rejoice in full contentation, That shall marry Love with Dissimulation,

And have spotted Conscience with all abomination —

But I forget myself, for I must to the wedding,

Both vauntingly

and flauntingly, although I had no bidding

Exit Lucre.

Scene 11 Video Sc. 11

Enter Dissimulation and Cogging, his man, and Simony.

Cogging

Sir, although you be my master, I would not have you to upbraid my name. But I would have you use the right skill and title of the same;

For my name is neither ’Scoggin

, nor Scraggin’

, but ancient Coggin’

Sir, my ancestors were five of the four worthies

And yourself are of my near kin.

Dissimulation

Indeed thou sayest true, for Cogging is a kinsman to Dissimulation.

But tell me, have you taken

the names of the guests?

Cogging

Yea, sir.

Dissimulation

Let me hear after what fashion

The names of the guests told by Cogging.

Cogging

There is first and foremost Master Forgery and Master Flattery, Master Perjury and Master Injury,

Master Cruelty, and Master Pickery

, Master Bribery and Master Treachery,

Master Wink-at-wrong

, and Master Headstrong, Mistress Privy-theft

and Master Deep-Deceit, Master Abomination and Mistress Fornication (his wife),

Ferdinando False-weight and Frissit False-measure

(his wife).

Dissimulation

Stay! Fornication and Frissit False-measure are often familiar with my Lady Lucre, and one of them she accounts her friend.

Therefore they shall sit with the bride in the middest

, and the men at each end.

Let me see… there are sixteen, even as many as well near is able

To dine in the summer parlor, at the playing table,

Beside my fellow Fraud, and you, fellow Simony.

But I shall have a great miss of

my fellow Usury.

Simony

Take no care for that; he came home yesterday even

, no longer.

His pardon was quickly begged, and that by a courtier.

And, sirrah, since

he came, he had like to have

slain Good Neighborhood and Liberality,

Had not True Friendship stepped between them very suddenly.

But, sirrah, he hit True Friendship such a blow on the ear,

That he keeps out of all men’s sight, for shame or for fear.

Dissimulation

Now, of my troth, it is a pretty jest. Hath he made True Friendship hide his head?

Sure if it be so, Good Neighborhood and Liberality for fear are fled.

Simony

But fellow Dissimulation, tell me, what priest shall marry ye?

Dissimulation

Marry, that shall an old friend of mine, Master Doctor Hypocrisy.

Simony

Why, will you not haue sir Peter Pleaseman to supply that want?

Dissimulation

Indeed, Sir Peter is a good priest, but Doctor Hypocrisy is most ancient. But, Cousin Cogging, I pray you go to invite the guests,

And tell them that they need not disturb their quietness.

Desire them to come at dinner time, and it shall suffice,

Because I know they will be loath so early to rise.

But at any hand

will Doctor Hipocrisy,

That he meet us at the church very early,

For I would not have all the world to wonder at our match.

It is an old proverb: ’Tis good having a hatch before the door, but I’ll have a door before the hatch

Cogging

Sir, I will about it as fast as I can hie.

I’ll first to that scall, bald, knave

, Doctor Hipocrisy.

Exit Cogging.

Simony

But, fellow Dissimulation, how darest thou marry with Love, bearing no love at all?

For thou doest nothing but dissemble — then thy love must needs be small.

Thou canst not love but from the teeth forward

Sure the wife that marries thee shall highly be preferred

Dissimulation

Tush, tush, you are a merry man; I warrant I know what I do, And can yield a good reason for it, I may say unto you.

What and if the world should change, and run all on her side?

Then might I by her means still in good credit abide.

Thou knowest Love is ancient, and lives peaceably without any strife.

Then sure the people will think well of me because she is my wife.

Simony

Trust me, thou art as crafty to have an eye to the main chance

As the tailor that out of seven yards stole one and a half of durance

He served at that time the devil in the likeness of Saint Katherine

Such tailors will thrive, that out of a doublet and a pair of hose can steal their wife an apron.

The doublet sleeves three fingers

were too short,

The Venetians

came nothing near the knee.

Dissimulation

Then for to make them long enough, I pray thee, what did he?

Simony

Two pieces set, an handful broad

, to lengthen them withal,

Yet for all that, below the knee by no means they could fall. He, seeing that, desired the party to buy as much to make another pair

The party did, yet, for all that, he stole a quarter there.

Dissimulation

Now, sure, I can him thank: he could his occupation

My fellow Fraud would laugh to hear one dressed of such a fashion.

But, fellow Simony, I thank you heartily for comparing the tailor to me,

As who should say his knavery and my policy did agree

Simony

Not so, but I was the willinger to tell thee, because I know it to be a true tale,

And to see how artificers do extol Fraud, by whom they bear

their sale.

But come, let us walk and talk no more of this;

Your policy was very good, and so, no doubt, was his.

Exeunt.

Scene 12 Video Sc. 12

Enter Mercadorus reading a letter to himself, and let Gerontus the Jew follow him, and speak as followeth:

Gerontus

Signor Mercadorus, why do you not pay me? Think you I will be mocked in this sort?

This is three times you have flouted me – it seems you make thereat a sport.

Truly, pay me my money, and that even now presently

Or by mighty Muhammad

I swear, I will forthwith arrest ye.

Mercadorus

Ha, pray-a bear wit me tree

or four days – me have mush business in hand.

Me be troubled wit letters you see here dat comes from England.

Gerontus

Tush, this is not my matter. I have nothing therewith to do.

Pay me my money – or I’ll make you – before to your lodging you go.

I have officers stand watching for you, so that you cannot pass by,

Therefore you were best to pay me, or else in prison you shall lie.

Mercadorus

Arrest me, dou scall knave? Marry, do, if dou dare. Me will not pay de one penny. Arrest me, do – me do not care,

Me will be a Turk — me came heddar

for dat cause.

Darefore me care not for de so mush as two straws

Gerontus

This is but your words, because you would defeat me:

I cannot think you will forsake your faith so lightly.

But seeing you drive me to doubt, I’ll try your honesty.

Therefore be sure of this – I’ll go about it presently.

Exit.

Mercadorus

Marry, farewell and be hanged, sitten

, scall, drunken Jew!

I warrant ye, me shall be able very vell to pay you. My Lady Lucre have sent me here dis letter,

Praying me to cozen de Jew for love a her.

Darefore me’ll go to get-a some Turk’s apparel,

Dat me may cozen da Jew, and end dis quarrel.

Exit.

Scene 13 Video Sc. 13

Enter three beggars, that is to say Tom Beggar, Wily Will, and Simplicity, singing: The Song

Tom Beggar, Wily Will, Simplicity

To the wedding, to the wedding, to the wedding go we,

To the wedding, a-begging, a-begging all three.

Tom Beggar shall brave it

, and Wily Will too.

Simplicity shall knave it wherever we go.

With lusty

bravado, take care that care will, To catch it, and snatch it, we have the brave skill.

Our fingers are lime-twigs

, and barbers

we be,

To catch sheets

from hedges, most pleasant to see.

Then to the alewife

roundly we set them to sale,

And spend the money merrily upon her good ale. To the wedding, to the wedding, to the wedding go we,

To the wedding, a-begging, a-begging all three.

Tom Beggar

Now truly, my masters, of all occupations under the sun, begging is the best, For when a man is weary, then may he lay him down to rest.

Tell me, is it not a lord’s life in summer to loose one under a hedge

And then, leaving that game, may go clip and coll

his Madge

Or else may walk to take the wholesome air abroad

for his delight,

Where he may tumble on the grass, have sweet

smells, and see many a pretty sight?

Why, an emperor for all his wealth can have but his pleasure,

And surely I would not lose my charter of liberty

, for all the king’s treasure.

Wily Will

Shall I tell thee, Tom Beggar? By the faith of a gentleman this ancient freedom

I would not forgo,

If I might have whole mines of money at my will to bestow.

Then a man’s mind should be troubled to keep that he had,

And you know it were not for me – it would make my valiant mind mad.

For now we neither pay church money

, subsidies

, fifteens

, scot

nor lot

All the payings

we pay is to pay the good ale pot.

Simplicity

But, fellow beggars, you cozen

me, and take away all the best meat,

And leave me nothing but brown bread or fin of fish to eat.

When you be at the alehouse, you drink up the strong ale and give me small beer

You tell me ’tis better than the strong, to make me sing clear.

Indeed, you know with my singing I get twice as much as ye,

But, an

you serve me so, you shall sing yourselves, and beg alone for me.

Tom Beggar

We stand prating here; come, let us go to the gate. Mass, I am greatly afraid we are come somewhat too late.

Knocking

Good, gentle Master Porter, your reward do bestow,

On a poor lame man that hath but

a pair of legs to go.

Wily Will Knocking

For God’s sake, good Master Porter, give somewhat to the blind,

That the way to the alehouse in his sleep cannot find.

Tom Beggar Knocking

For the good Lord’s sake, take compassion on the poor.

Enter Fraud as the porter with a basket of meat on his arm.

Fraud

How now, sirs, you are vengeance

hasty! Can ye not tarry

But stand bawling

so at my lady’s door?

Here, take it amongst you (Offering from basket, then pulling back)– yet ’twere a good alms-deed

to give you nothing,

Because you were so hasty, and kept such a calling.

Tom Beggar

I beseech ye not so, sir, for we are very hungry.

That made us so earnest

, but we are sorry we troubled ye.

Fraud gives the basket.

Simplicity Aside

Look how greedy they be – like dogs that fall a-snatching. You shall see that I shall have the greatest alms because I said nothing.

Fraud knows me, therefore he’ll be my friend, I am sure of that.

They have nothing but lean beef; ye shall see I shall have a piece that’s fat.

To Fraud

Master Fraud, you have forgot me! Pray ye, let me have my share.

Fraud

Faith, all is gone! Thou com’st too late; thou see’st all is given there.

By the faith of a gentleman, I have it not; I would I were able to give thee more.

Simplicity

Oh, sir, I saw your arms

hang out at a stable door.

Fraud

Indeed, my arms are at the painter’s – belike he hung them out to dry

I pray thee, tell me what they were, if thou canst them descry

Simplicity

Marry, there was never a scutcheon

, but there was two trees rampant,

And then over them lay a sour tree passant

With a man like you in a green field pendant

Having a hempen halter

about his neck, with a knot under the left ear, because you are a younger brother

Then, sir, there stands, on each hand, holding up by the crease

A worthy ostler’s hand in a dish of grease

Besides all this, on the helmet stands the hangman’s hand,

Ready to turn the ladder

whereon your picture

did stand.

Then under the helmet

hung tables like chains

, and for what they are I cannot devise,

Except it be to make you hang fast, that the crows might pick out your eyes.

Fraud aside

What a swad

is this? I had been better to have sent him to the back door,

To have gotten some alms amongst the rest of the poor.

— Thou prat’st thou canst not tell what

, or else art not well in thy wit

;

I am sure my arms

are not blazed so far abroad

as yet.

Simplicity

Oh, yes, sir, your arms were known a great while ago, For your elder brother Deceit did give those arms too.

Marry, the difference is all, which is the knot under the left ear. The painter says when he is hanged

, you may put out

the knot without fear.

I am sure they were your arms, for there was written in Roman letters round about the hempen collar:

Given by the worthy valiant Captain Master Fraud, the ostler.

Now, God be with ye, sir, I’ll get me even close to the back door.

Farewell, Tom Beggar and Wily Will; I’ll beg with you no more.

Exit.

Tom Beggar

Oh, farewell, Simplicity; we are very loath to lose thy company.

Fraud

Now he is gone, give ear to me. You seem to be sound men in every joint and limb,

And can ye live in this sort

to go up and down the country a-begging?

Oh, base minds! I trow I had rather hack it out by the highway-side

Than such misery and penury still to abide. Sirs, if you will be ruled by me, and do what I shall say,

I’ll bring ye where we shall have a notable fine prey.

It is so, sirs, that a merchant, one Mercadorus, is coming from Turkey,

And it is my lady’s pleasure that he robbèd should be.

She hath sworn that we shall be all sharers alike,

And upon that willed me some such companions as you be to seek.

Tom Beggar

Oh, worthy Captain Fraud, you have won my noble heart. You shall see how manfully I can play my part.

And here’s Wily Will, as good a fellow as your heart can wish

To go a-fishing with a crank through a window

, or to set lime-twigs to catch a pan, pot, or dish

Wily Will

He says true, for I tell you, I am one that will not give back

Not for a double shot out of black jack

Oh, sir, you bring us a-bed

when ye talk of this gear

Come, shall we go, worthy captain? I long till we be there.

Fraud

Ay, let us about it, to provide our weapons ready,

And when the time serves, I myself will conduct ye.

Tom Beggar

Oh, valiantly spoken. Come, Wily Will, two pots of ale we’ll bestow

On our captain courageously

for a parting blow.

Exeunt.

Scene 14 Video Sc. 2

Enter the Judge of Turkey, with Gerontus and Mercadorus

in Turkish clothing

Judge of Turkey

Sir Gerontus, because you are the plaintiff, you first your mind shall say.

Declare the cause you did arrest this merchant yesterday.

Gerontus

Then, learned judge, attend: this Mercadorus, whom you see in place,

Did borrow two thousand ducats of me but for a five weeks’ space

Then, sir, before the day came, by his flattery he obtained one thousand more,

And promised me at two months’ end I should receive my store. But before the time expired, he was closely

fled away,

So that I never heard of him, at least this two years’ day

Till at the last I met with him, and my money did demand

Who swore to me at five days’ end he would pay me out of hand.

The five days came, and three days more, then one day he requested.

I, perceiving that he flouted me, have got him thus arrested.

And now he comes in Turkish weeds

to defeat me of my money,

But, I trow, he’ll not forsake his faith; I deem he hath more honesty.

Judge of Turkey

Sir Gerontus, you know if any man forsake his faith, king, country, and become a Mahomet

All debts are paid. ’Tis the law of our realm

, and you may not gainsay it.

Gerontus

Most true, reverend judge, we may not, nor I will not against our laws grudge.

Judge of Turkey

Signor Mercadorus, is this true that Gerontus doth tell?

Mercadorus

My lord judge, de matter and circumstance be true, me know well;

But me will be a Turk

, and for dat cause me came here.

Judge of Turkey

Then it is but a folly to make many words. Senior Mercadorus, draw near.

Lay your hand on this book, and say after me —

Mercadorus

With a good will, my lord judge, me be all ready.

Gerontus

Not for any devotion, but for Lucre’s sake of my money.

Judge of Turkey

Say “I, Mercadorus, do utterly renounce before all the world my duty to my prince, my honor to my parents, and my goodwill to my country.”

Mercadorus

Furthermore, I protest and swear to be true to this country during life, and thereupon I forsake my Christian faith.

Gerontus

Stay there, most puissant

judge! — Signor Mercadorus, consider what you do.

Pay me the principal

. As for the interest, I forgive it you,

And yet the interest is allowed amongst you Christians, as well as in Turkey;

Therefore, respect your faith, and do not seem to deceive me.

Mercadorus

No point da interest, no point

da principal.

Gerontus

Then pay me the one half, if you will not pay me all.

Mercadorus

No point da half, no point denier

– me will be a Turk, I say.

Me be weary of my Christ’s religion, and for dat me come away.

Gerontus

Well, seeing it is so, I would be loath to hear the people say it was ’long of

Thou forsakest thy faith; wherefore

I forgive thee frank and free,

Protesting before the judge and all the world never to demand penny nor halfpenny.

Mercadorus

Oh, Sir Gerontus, me take-a your proffer

, and tank you most heartily.

Judge of Turkey

But, Signor Mercadorus, I trow

ye will be a Turk for all this.

Mercadorus

Signor, no – not for all da gold in da world me forsake-a my Christ!

Judge of Turkey

Why then it is as Sir Gerontus said: you did more for the greediness of the money,

Than for any zeal or goodwill you bare to Turkey.

Mercadorus

Oh, sir, you make a great offense; You must not judge-a my conscience.

Judge of Turkey

One may judge and speak truth, as appears by this:

Jews seek to excel in Christianity, and Christians in Jewishness

Exit.

Mercadorus

Well, well; but me tank you, Sir Gerontus, wit all my very heart.

Gerontus

Much good may it do you, sir. I repent it not, for my part.

But yet I would not have this bolden

you to serve another so.

Seek to pay, and keep day

with men, so a good name on you will go

Exit.

Mercadorus

You say vell, sir. — It does me good dat me have cozened de Jew. Faith, I would my Lady Lucre de whole matter now knew.

What is dat me will not do for her sweet sake? But now me will provide my journey toward England to take.

Me be a Turk? No. It will make my Lady Lucre to smile When she knows how me did da skall Jew beguile.

Exit.

Scene 15 Video Sc. 15

Enter Lucre, and Love with a vizard

behind

Lucre

Mistress Love, I marvel not a little what coy conceit

is crept into your head,

That you seem so sad and sorrowful since the time you first did wed. Tell me, sweet wench, what thou ailest, and if I can ease thy grief,

I will be pressed

to pleasure thee in yielding of relief.

Sure, thou makest me for to think somewhat hath chanced amiss;

I pray thee, tell me what thou ailest, and what the matter is.

Love

My grief, alas, I shame to show, because my bad intent

Hath brought on me a just reward, and eke

a strange event.

Shall I be counted

Love? Nay, rather lascivious Lust,

Because unto Dissimulation I did repose

such trust.

But now I moan too late, and blush my hap

to tell.

My head in monstrous sort, alas, doth more and more still swell.

Lucre

Is your head then swollen, good Mistress Love? I pray you, let me see – She looks behind the vizard

Of truth

it is! Behold a face that seems to smile on me.

It is fair and well-favored, with a countenance smooth and good.

Wonder is the worst, to see two faces in a hood

Come, let’s go, we’ll find some sports to spurn away such toys

Love

Were it not for Lucre, sure Love had lost her joys.

Scene 16 Video Sc. 16

Enter Serviceable Diligence, the Constable, and Simplicity with an Officer to whip him, or two if you can

Simplicity

Why, but must I be whipped, Master Constable, indeed?

You may save your labor, for I have no need.

Diligence

I must needs see thee punished. There is no remedy,

Except thou wilt confess, and tell me

Where thy fellows are become that did the robbery

Simplicity

Indeed, Master Constable, I do not know of their stealing. For I did not see them since we went together a-begging.

Therefore pray ye, sir, be miserable to me

, and let me go,

For I labor to get my living with begging, you know.

Diligence

Thou wast seen in their company a little before the deed was done. Therefore it is most likely thou knowest where they are become.

Simplicity

Why, Master Constable, if a sheep go among wolves all day, Shall the sheep be blamed if they steal anything away?

Diligence

Yea, marry, shall he; for it is a great presumption

That, keeping them company, he is of like profession. But dispatch, sirs. Strip him and whip him –

Stand not to reason the question.

Simplicity

Indeed, ’twas Fraud, so it was – it was not I.

And here he comes himself – ask him if I lie.

Enter Fraud

Diligence

What sayest thou, villain? I would advise thee hold thy tongue.

I know him to be a wealthy man and a burgess

of the town.

To Fraud Sir, an

it please your mastership, here’s one slanders you with felony.

He saith you were the chief doer of a robbery.

Fraud

What says the rascal? But you know,

It standeth not with my credit to brawl

But good Master Constable, for his slanderous report,

Pay him double, and in as great a matter command me you shall.

Exit

Simplicity

Master Constable, must the countenance carry out the knave

Why then if one will face folks out

, some fine repariment

he must have.

Beadle put off his clothes.

Beadle

Come, Sir Jack Sauce

, make quick dispatch at once.

You shall see how finely we will fetch the skin from your bones.

Simplicity

Nay, but tell me, be you both right-handed or no?

Beadle

What is that to thee? Why wouldst thou so fain

know?

Simplicity

Marry, if you should both be right-handed, the one would hinder the other. Then it would not be done finely according to order,

For if you whip me not with credit, it is not worth a pin

Therefore, I pray you, Master Constable, let me be whipped on the skin.

Diligence

Whereon dost thou think they would whip thee, I pray thee declare? That thou puttest us in mind, and takest so great care?

Simplicity

I was afraid you would have worn out my clothes with whipping

Then afterward I should go naked a-begging.

Beadle

Have no doubt of that; we will favor thy clothes.

Thou shalt judge that thyself, by feeling the blows.

Beadle and Officer lead him once or twice about whipping him, and so exeunt.

Scene 17 Video Sc. 17

Enter Judge Nemo

, the Clerk of the assize

, the Crier

, and Serviceable Diligence. The Judge and Clerk being set, the Crier shall sound thrice

Judge Nemo

Serviceable Diligence, bring hither such prisoners as are in your custody.

Diligence

My diligence shall be applied very willingly. (Gives order.)

Pleaseth it you, there are but three prisoners, so far as I know,

Which are Lucre and Conscience, with a deformed creature much like Bifrons, the base daughter of Juno

Judge Nemo

No? Where is that wretch Dissimulation?

Diligence

He hath transformed himself after a strange fashion.

Judge Nemo

Fraud? Where is he become?

Diligence

He was seen in the streets walking in a citizen’s gown.

Judge Nemo

What is become of Usury?

Diligence

He was seen at the Exchange

very lately.

Judge Nemo

Tell me when you heard of Simony?

Diligence

He was seen this day walking in Paul’s

, having conference and very great familiarity with some of the clergy.

Judge Nemo

Fetch Lucre and Conscience to the bar

Diligence

Behold, worthy judge, here ready they are.

Enter Lucre and Conscience.

Judge Nemo To the ladies

Stand forth.

To Diligence

Diligence, divide them asunder.

Clerk

Lucre, thou art indicted by the name of Lucre

To have committed adultery with Mercadorus

, the merchant, and Creticus, the lawyer

Thou art also indicted for the robbery of Mercadorus

;

Lastly, and chiefly, for the consenting to the murder of Hospitality

What sayest thou – art thou guilty or not in these causes?

Lucre

Not guilty. Where are mine accusers? They may shame

to show their faces.

I warrant you none comes, nor dare, to discredit my name.

In despite of the teeth

of them that dare, I speak in disdain.

Judge Nemo

Impudent! Canst thou deny deeds so manifestly known?

Lucre

In denial stands trial. I shame not; let them be shown.

It grinds my gall

they should slander me on this sort;

They are some old, cankered, currish

, corrupt carls

that gave me this report.

My soul craves revenge on such my sacred

foes,

And revengement I will have, if body and soul I lose.

Judge Nemo

Abundance of thy abomination, all evils are rife.

— But what sayest thou, Conscience, to thy accusation,

That art accused to have been bawd

unto Lucre and spotted with all abomination?

Conscience

What should I say? Nay, what would I say in this our naughty living ?

Lucre

Good Conscience, if thou love me say nothing.

Clerk

Diligence, suffer her not to stand prating.

Let him put her aside

Judge Nemo

What letter is that in thy bosom, Conscience? Diligence, reach it hither.

Make as though ye read it.

Conscience, speak on, let me hear what thou canst say,

For I know in singleness

thou wilt a truth bewray

Conscience

My good lord, I have no way to excuse myself.

She hath corrupted me by flattery and her accursed pelf

What need further trial, sith I, Conscience, am a thousand witnesses?

I cannot choose but condemn us all in living amiss

Such terror doth affright me, that living, I wish to die.

I am afraid there is no spark left for me of God’s mercy.

Judge Nemo

Conscience, where hadst thou this letter?

Conscience

It was put into my bosom by Lucre,

Willing me to keep secret our lascivious living.

I cannot but condemn us all in this thing.

Judge Nemo To Lucre

How now, malapert

? Stand you still in defense or no?

This letter declares thy guilty conscience. How sayest thou – is it not so?

Tell me, why standest thou in a maze

? Speak quickly.

Hadst thou thy tongue so liberal and now stand to study

Lucre

Oh, Conscience, thou hast killed me! By thee I am overthrown!

Judge Nemo

It is happy that by Conscience thy abomination is known,

Wherefore I pronounce judgment against thee on this wise

Thou shalt pass to the place of darkness, where thou shalt hear fearful cries,

Weeping, wailing, gnashing of teeth, and torment without end,

Burning in the lake of fire and brimstone because thou canst not amend.

Wherefore, Diligence, convey her hence, throw her down to the lowest hell,

Where the infernal sprites and damned ghosts do dwell,

And bring forth Love.

Exeunt Lucre and Diligence.Let Lucre make ready for Love

quickly and come with Diligence.

Declare the cause, Conscience, at large how thou comest so spotted,

Whereby many by thee hath been greatly infected

For under the color of conscience thou deceivedst many,

Causing them to defile the temple of God, which is man’s body:

A clean conscience is a sacrifice – God’s own resting place.

Why wast thou then corrupted so, and spotted on thy face?

Conscience

When Hospitality had his throat cut by Usury,

He oppressed me with cruelty and brought me to beggary,

Turning me out of house and home, and in the end,

My gown to pay my rent to him I did send.

So driven to that extremity, I have fallen to that you see,

Yet after judgment I hope of God’s mercy.

Judge Nemo

Oh.

Conscience, shall cankered

coin corrupt thy heart?

Or shall want in this world cause thee to feel everlasting smart?

Oh – Conscience, what a small time thou hast on earth to live. Why doest thou not then to God all honor give?

Considering the time is everlasting that thou shalt live in bliss,

If by thy life thou rise from death to judgment, mercy, and forgiveness.

Enter Love and Diligence.

Judge Nemo

Stand aside, Conscience.

To Diligence

Bring Love to the bar.

To Love

What sayest thou to thy deformity? Who was the cause?

Love

Lady Lucre.

Judge Nemo

Did Lucre choke thee so, that thou gavest thyself over to lust?

And did prodigal expenses cause thee in Dissimulation to trust?

Thou wast pure Love,

and art thou become a monster,

Bolstering

thyself upon the lasciviousness of Lucre?

Love, answer for thyself! Speak in thy defense!

Love

I cannot choose but yield, confounded

by Conscience.

Judge Nemo

Then judgment I pronounce on thee, because thou followed Lucre, Whereby thou hast sold thy soul to feel like torment with her,

Which torments comprehended are in the worm of Conscience

Who raging still shall ne’er have end, a plague for thine offense.

Care

shall be thy comfort, and sorrow shall thy life sustain;

Thou shalt be dying, yet never dead, but pining still in endless pain.

Diligence, convey her to Lucre: let that be her reward,

Because unto her cankered coin she gave her whole regard.

But as for Conscience, carry her to prison,

There to remain until the day of general session

Thus we make an end, Knowing that the best of us all may amend

Which God grant, to his good will and pleasure,

That we be not corrupted with the unsatiate

desire of vanishing earthly treasure

;

For covetousness

is the cause of wresting

man’s conscience;

Therefore restrain thy lust, and thou shalt shun the offense.

FINIS.

Annotations

The Prologue

The job of this character, played by one of the actors wearing a black cloak to cover his costume for the play, is to prepare the audience for the kind of drama to be staged, in this case, by defining what the play is not about: not a heroic exploit about the gods or aristocrats at court; not about the sufferings in the underworld; not about war, or the rage of bloodlust animating warriors; not a pastoral fantasy about love in a rural environment; the last 5 lines declare that the theater is like a shopping center where everyone may enjoy purchasing the goods. The prologue defines a new kind of play about urban life: city comedy. See Introduction.

lofty reach

Superior goal, such as becoming a king or a god.

oft-times … breach

Frequently causes a rupture, or break-up of friendly relations.

list

Wish or desire.

racks

Quick-moving storm clouds.

crystal

Transparent.

Allusion to the crystalline heaven or the spheres of Ptolemaic astronomy (OED crystal, a.3).

glimmering

Twinkling.

Pluto’s pensive pit

Hades, the melancholy dwelling of Pluto, Roman god of the underworld; pit, in this context, also connotes a grave or a dungeon.

Limbo Lake

Limbo in Christian theology is a nebulous place or state of imprisonment where souls that are neither heaven-bound nor hell-bound wait for Judgment Day.

Lake plays on the vulgate Latin word lacus, which in some contexts means pit, grave, or underground dungeon. While purgatory and hell are sometimes said to have lakes as part of their landscape, this rare reference to a lake in Limbo suggests that the lake may not mean a body of water here but rather a pit or subterranean dungeon. Patrick Toner argues that in literary usage in the seventeenth century, limbo is sometimes applied in a wider and more general sense to any place or state of restraint, confinement, or exclusions, and is practically equivalent to prison (Toner). Theologically, limbo serves as either a place or state for souls who cannot access heaven but do not suffer in purgatory or hell. The limbus patrum held the souls purified of sin before Christ’s incarnation who were redeemed by Christ’s harrowing of hell (and so, it is empty to early modern minds except as a metaphor for a painless purgatorial waiting). The limbus infantium holds the souls of unbaptized infants who cannot be cleansed of original sin, but who suffer no torment, having committed no sins in life. Richard Rolle, a 14th century theologian and geographer of hell, suggested that purgatory and limbo were high suburbs of lowest Hell, with purgatory near the top, hell at the very bottom, and limbo in between both (Andel 52).

Form of nor, probably a remnant of Anglo-Norman French.

ne yet … sprites

Nor yet of malevolent spirits motivated by emotions and passions (OED sprites 1b, 3a).

The use of ne to connect negative expressions or continuing narration is rare after 1770, and is now considered archaic (OED ne, adv. and conj. 1.1.d and e).

Furies were mad, vindictive, and violent demons (female) raging against wrongs committed against women and children. OED does not cite this sense for furious. Cooper, 1584, gives the usual sense of frantic raging, and includes the sense of emanations from hell or the frothing of mad dogs; and Thomas, 1587, adds the filthie feastes, and vnchast reuels of Bacchus as well as pertaining to furies: proper or like to mad folkes: furious, raging, detestable, that maketh outragious—disembodied spirits or incorporeal aspects of a human being, such as emotions or passions (OED sprites 1.b., 3.a.).

thresher with his flail

Pastoral episode: agricultural worker separating grain from hay by beating it with a special instrument, consisting of a wooden staff or handle, at the end of which a stouter and shorter pole or club, called a swingle or swipple, is so hung as to swing freely (OED flail, n.1.a).

Here, the prologue is defining another type of drama presented on stage—not pastoral drama, part of the series of negatives telling what kind of play the actors are offering.

hedger

Landscape worker who makes and maintains hedges.

bill

Tool that is shaped like a scythe and ends in a sharp hook; used for pruning hedges and cutting wood.

husbandman

Farmer.

wares

Q1’s choice, stuffe, specifically means cloth, but broadly means goods for sale. The context here suggests a wool market (well woven). Q2’s choice puts the repeated emphasis on the thrice-repeated word wares in the last 5 lines, thus urging sales within the construct of London as marketplace.

trimmed

Trade metaphor for decorating a vendor’s stall in a marketplace.

This stage-setting line hints at the play’s central concern with the London marketplace as a pervasive force which privileges transactional, money-driven relationships and distorts traditional social bonds. Wilson further reinforces this connection between stage and marketplace in the 1590 sequel, Three Lords and Three Ladies of London, as Bryan Nakawaki and Paul Whitfield White note, by placing a literal market stall on the stage for much of the action: We tend to think that the Elizabethan playhouse as completely free of furnishings, but Simplicity’s stall is real—shields and images are hung or tacked to it, and Simplicity’s relationship to it anticipates the traders and their stalls on stage in Jonson’s Bartholomew Fair some two decades later (Nakawaki and White). While here the metaphor of theatre as market stall does not fully materialize as set piece, the line reinforces a connection between the stage itself and the marketplace the play seeks to satirize. Pamela Allen Brown further argues that Wilson’s Prologue metatheatrically conflates market and theatre, then the play proceeds to attack both as debased by greed (Brown).

Then, young … them all

Pamela Allen Brown notes that this line marks a tone change in the prologue, turning the tease to a ballad-like market cry (Brown). For information on market cries and songs, see Wong, A Dramaturgical Study of Conscience’s Broom Song.

your custom

Your business, as you will be a customer.

sounding

Announcing the Ladies’ entrance. Kermode interprets this line as blowing her trumpet (82 n.0.1).

estates

Social ranks from workers, tradesmen, professionals, and nobility; subsequently the ladies refer to states, with the same meaning.

rules the rout

Has supreme authority over a group, as in rules the roost.

A rout refers to a gathering or crowd, but can also carry a negative connotation as a disreputable group of people; a violent or unlawful mob; a gang of criminals or ruffians (OED rout, n.1.3.a). Legally, in the sixteenth century, a rout is an assembly of three or more people that has gathered with the intention of committing an unlawful act (OED rout, n.1.5). The people Lucre rules could either be imagined as the general population of London, a crowd gathered to the purpose of committing crimes, or as an overlap of both where any Londoners under Lucre’s control become part of a criminal rout. Since rout can also mean a force retreating in a disordered and rushed manner, Lucre could also be said to have conquered any opposition to her power (leaving Love and Conscience defeated and at her mercy in this initial scene) (OED rout, n.6.3.a).

all in all

The absolute power in London.

The phrase echoes a description of God’s absolute power in 1 Cor. 15.28: And when all things shalbe subdued unto him, then shall the Sone also himself be subject unto him, that did subdue all things under him, that God may be all in all (Geneva Bible 1 Cor. 15.28, lettering modernized). The Geneva Bible glosses be all in all as We shalbe prefctly fulfilled with his glorie and felicitie (Geneva Bible 1 Cor 15.28 n.n). Applied to Lucre, it suggests that London has idolatrously elevated her to an all-powerful deity, and that Lucre provides an immediate worldly pleasure that supplants the future spiritual fulfilment souls should strive to reach in order to be accepted into heaven.

stout

Proud and unyielding.

in fine

At last, in the end (from French enfin, OED fine, n.P.1).

sue

Pursue, follow as a companion or disciple.

bear sway

Hold influence.

Barbary

The Saracen countries along the north coast of Africa, the coastal sites of early modern trade; modern Morocco, Libya, Tunisia, Algeria, and Egypt, perhaps including Sudan.

Jewry

The Jewish quarter in any trading city, whether Europe or the Asia (the near or far east); biblically, the province of Judea in ancient Rome; or the land of ancient Israel (OED Jewry, n.2 and n.4).

the Pagan himself

Either a reference to the much feared and admired Ottoman sultan, suggested by the capital P (in Q) in the Elizabethan period, from Süleyman the Magnificent (d. 1566) to Mehmet III (d. 1603); or a collective reference to Muslim countries. For more information on views of the middle east, see Ingram, Turks, Trade, and Turning.

gape for

Desire with open-mouthed anticipation: open the mouth wide, as animals do to bite or swallow anything (OED gape, v. 1.a.i), to be eager to obtain (OED gape, 4.a).

In gaping, these men demonstrate that their appetites overcome their rational self-control.

pelf

Booty (riches obtained by unsavoury means which corrupt the person who obtains them).

rules the roost

Variation on rules the rout. See Sc1 Sp1; this choice gives Lucre the masculine role of rooster, crowing over his hens.

And if true … victorious

If Love and Conscience can maintain their virtues, then they will eventually bring Lucre back into proper collaboration despite Lucre’s current out-of-control appetites.

live from

Survive; live at a distance from, dissociate yourselves from.

triple crown

A three-part crown, associated with the three-tiered papal tiara.

lasteth ay

Endures forever.

daunt her heart

Subdue or overcome my Conscience’s spirit; she is speaking of herself and her function in third person, thus making her statement more general than she means. Hazlitt’s suggestion, haunt, removes the utter defeat Lucre has in mind in both quartos.

abroad

Outside.

with measure

With moderation, balance. Measure can also refer to rhythms of music, poetry, and dance, and more specifically here to a step of a dance, as the reference to the steps in the next line suggest (OED measure, n.III.15.a).

beguile

Divert or charm away (OED beguile, v.5), to forget her sorrows.

frame

Offer a good model or pattern to follow (OED frame, v.II.9.b).

rod

Instrument for punishment: stick or bundle of twigs used to beat a child, as in the proverb “spare the rod and spoil the child”.

farmer’s long coat

Long coats were sometimes associated with natural fools (broadly, people who are considered idiots or who have developmental disabilities) like Simplicity, or little long-coats, children. See Wiles 184–186.

Because the coat is also specified to be a farmer’s, the garment is a functioning part of Dissimulation’s disguise that makes him look both rustic and contradictory with his motley beard. If the costumers exaggerate the size of the coat, however, it might provide a further clue to the audience that Dissimulation is a clown, both a stage-role and here played by a child actor.

motley

Sign of the fool: multi-colored. The beard might be made up of tufts of gray, white, and perhaps red hair, for Judas, the betrayer.

Motley, a costume made of patches of various colors sewn together to make the costume the emblem of a jester, came to be synonymous with a fool in early modern English theatre, although, as David Wiles notes in Shakespeare’s Clown, Nowhere in sixteenth-century Europe are real court jesters pictured as wearing the motley and cockscomb outfit, they are associated with in emblems and on the stage (183). Dissimulation does not wear a fool’s full costume, but the motley beard marks him as a clown.

stay

Prevent.

particolored

Partly of one color and partly of another, especially of a dog or animal having a coat of with two or more colors in distinct patches (OED particolored, adj.1).

Tush

A derisive exclamation of impatience.

a fig

Something worthless; in Elizabethan England, a contemptuous gesture which consisted in thrusting the thumb between two of the closed fingers or into the mouth (OED fig, n.2).

Tut

An exclamation expressing impatience with a statement and contemptuously dismissing it.

Sith

Since.

my outward … declare

The way I appear on the outside declares my true protestant faith.

Then why … knew me

Why pretend you don’t recognize me?

As Roderick McKeown points out, Although all three characters in this scene are seeking out the opportunities of London, it is Dissimulation who discourses with the urban audience, and implicitly his statement of familiarity is an indictment of an audience that, by 1584, would more and more have been composed of Londoners visiting playhouses and less and less rural audiences catching the show on tour. Yet while Wilson appears in this scene to set up Dissimulation as a regular vice character in a morality play, McKeown argues that Wilson sets up these generic expectations in order to disrupt them, and to disrupt binaries between the innocent country and the corrupt city. See McKeown, Three Ladies of London and the Pre-History of City Comedy.

degree

Social rank.

baseness

Inferiority; class of low rank, or illegitimacy.

entertainment

Employment, amusement, accommodation, food, etc., from a host.

Enter Simplicity

Many editors and critics, including Kermode and Walker, suggest that Robert Wilson himself played Simplicity in early productions of the play. Richard Preiss and Paul Whitfield White further suggest that once the play entered the Queen’s Men repertory, the role of Simplicity went to Richard Tarlton until his death in 1588 (see Preiss, ch. 2 and 3 and White). In the sequel, The Three Lords and Three Ladies of London, Simplicity (likely played by Wilson) commemorates the recently deceased Tarlton. Both Tarlton and Wilson were talented comic actors of their time. For more information on Tarlton in the role of Simplicity and on the sequel, see Paul Whitfield White’s article Wilson, Tarlton, and the Scourge of Simony in Elizabethan Drama.

like a miller

Kermode notes that a miller is proverbially a simple rustic, clown (85 n.19.1). Millers in rural medieval settings tended to be serfs working on mills and lands owned by a noble.

Millers were infamously believed to be dishonest, taking in grain to grind and skimming flour for their own profit. Millers in the early modern literary imagination owe much to Chaucer’s vulgar, drunk miller pilgrim from The Canterbury Tales, who steals corn and overcharges his customers, and who responds to the Knight’s courtly romance story with a bawdy fabliau. While millers appear with regularity as lustful, rustic paramours in seventeenth-century ballads, The Roguish Miller, a ballad published around the time of bread shortage and riot of 1795 that accuses the miller of stealing, spoiling, and adulterating the corn he’s meant to grind, suggests that their reputation for dishonesty does not change in the intervening years since Chaucer’s Canterbury Tales.

all mealy

Covered in flour; see Dusty-poll below Sc2 Sp2.

wand

Long stick.

Wands are used for many practical purposes in early modern England but here it likely resembles a walking stick or a switch. Kermode suggests that the stick might serve to strike the horse turning the grindstone at the mill (85 19.2). Not all mills were powered by livestock, but the wand is a practical instrument for ensuring animal activity.

preferment

Professional and social advancement.

Mass

An oath (shortened form of By the mass). In some dramatic uses, the oath is indicative of the speaker’s rusticity or ignorance (OED mass, n.1.4.a).

If.

passing

Surpassing or outstanding.

Dusty-poll

Head (poll) covered in flour (dust)—a common nickname for a miller.

noll

The top or crown of the head; the head itself (OED noll, n.1.a).

comporknance

Nonce-word: Simplicity invents this word

Simplicity combines the words pork, comportment, and countenance to say that he has a swinish demeanour, although he thinks he is complimenting his personal conduct. This is a questionable strategy of sexual self-promotion, as he frequently defines himself as a lusty sexual male, but initially here demonstrates the crude and rude assumptions about any miller’s behaviour.

To appear pork-like in Tudor England did not usually convey desirability. As the OED notes, pork was a derogatory term for a coarse, uncultured, or stupid person, or a fat person (OED pork, n.1.2.b). Pig has a similar history as a derogatory meaning of obstinate or disagreeable person, and a lecherous or sexist man (OED pig, n.1.II.4). But since Simplicity is a creature of appetites, always in search of food, he might be working to associate himself with pork as a commodity more delicious than the flour on his head that attracted the maidens’ abuse.

peradventures

Literally, risks or hazards, but he means “for adventures” suitable to his lusty appearance, including the job of servant, as he mentions.

Whither away, good fellow?

Where are you going, pleasant companion?

This whole line is a common affable greeting, like Hail, fellow, well met?

’clare

Declare, tell.

honest

(1) Commendable, acting in a principled manner; (2) of a person that acts fairly and with integrity, that is not disposed to lie, cheat, or steal; truthful; trustworthy; sincere (3) used sarcastically to mean its opposite.

Simplicity accepts the first two surface definitions without understanding the hidden third until later.

buckler

Small round shield carried by a handle at the back and used to ward off an adversary’s blows (OED buckler, n.2.1).

ruffian

Swaggering bully, a rough or disreputable person.

The term ruffian was a catch-all for a wide range of male criminality and rebellion. It could denote a violent criminal or a pimp (OED ruffian, n.1.1 and n.1.2.b), but it could also denote a haunter of bawdry and riotous houses, meaning brothels or alehouses, and a ravenour of delicate meates or a glutton (Cooper 1584). To appear like a ruffian is likely to embrace a counter culture and signal with personal style one’s disdain for the conventional fashions of law-abiding citizens.

Huff

An exclamation attributed to a swaggerer or bully, esp. on the stage (OED huff, int.2).

flaunt it … swash

Show off by flourishing his sword and challenging with bravado like a big-city swaggerer. Fraud thrusts himself boastfully into Simplicity’s and Dissimulation’s company, and defies them insolently, imitating the style of stage swashbucklers.

Fraud’s arrogance and aggression offer an early modern source, based on Roman comedy, of Shakespeare’s future swaggerers, esp. the physical and verbal traits of Pistol in 1H4, 2H4, H5, and MWW. Falstaff is a witty version of this type of ex-soldier bully, or miles gloriosus, the braggart man of action who turns out to be a coward, frightening others into giving him money or greedy satisfaction that strokes his ego. The Queen’s Men’s play was an important source for Shakespeare.

lie in the lash

Are left in the lurch (OED lash, n.1.4); are forced to take the blame, such as flogging or imprisonment for debt .

boniacion

Simplicity invents or mangles this word, which could mean well-acting, good looking, or fashionable. (Fraud, ironically, is none of these things.)

The word appears as baniacion in both quartos. It appears a second time in the play, in both texts, at 7, where it is spelled bonacion but the spellings have been regularized in this edition as boniacion.

No definitions exist for these words, and they have not been found in any other source. Simplicity almost certainly makes a malapropism, but it is impossible to pinpoint with accuracy what words he is mangling. While a definitive meaning is unavailable, there are several possibilities: (1) Simplicity’s clownish corruption of boniface, defined in William Camden’s Remains as Latin for Well doer, or Good and sweete face (Camden 1605). Simplicity’s corruption of the word is apt, as Fraud neither acts well not appears sweet (and is himself corrupt). (2) William Hazlitt’s misreading of the Q2 type in his 1874 edition has produced the word bonifacion (254), which appears in the 1867 edition of the OED as fashionable, but there is no evidence to corroborate this spelling as a distinct word (see Terence Logan 1968). (3) Given the word’s context in the play, Simplicity might be clownishly corrupting a French loanword for bonne + façon, which literally means “good fashion”: certainly, Fraud is extravagantly dressed as expected of a ruffian, and his sword and aggressive manner class him as a bully (see the note on the stage direction at 2). (4) If we accept boniacion , the word may be a printer’s error for bonny acting suggesting Simplicity’s admiration for Fraud’s swordplay and his costume, thus praising the doublet as brave, both words identifying the same quality of attractiveness.

brave

Finely dressed, handsome (OED brave, adj.2).

Gravesend

A town in north-western Kent, 25 miles west of London.

bring … thy guests

Calculate a guest’s bill.

say twice … less

Ask for double the price, and swear it cost your boss not a penny less than what you’re asking for.

thy dame

Your employer, the landlady of the inn.

Hertfordshire

Small, rural county north of London.

Ware

Village in Hertfordshire, about 40 miles north of London and a regular stop in journeys north of the city.

Mithal notes that Ware was known for sports involving the maintenance and upkeep of horses (114 n.91). By the time of the second quarto’s printing in 1592, the audiences might have recognized Ware as the home of The Great Bed of Ware, a tourist attraction currently housed in the Victoria and Albert Museum.

stood … a night

Were very cheaply housed.

grease the horses’ teeth

Common ostler’s scam in early modern England to prevent horses from eating while charging for their feed.

See a similar reference to buttering hay in King Lear (KL 7.274).

vetches

Bean-like plants.

filching and cozening

Stealing and cheating.

wilt be proud

Q2 omitted Q1’s not, relying perhaps on the actor’s tone of sarcasm to carry the line without it. He has been mocking Fraud for all the things he is stupidly proud of; this is just one more example of his flamboyant arrogance.

rope and the cart

The hanging rope and the cart that takes you to the gallows (or ‘carts’ you, drives you around for public shaming); cf. A Knack to Know a Knave (1594) (Kermode 87 n.58).

swad

Insulting term for a country bumpkin or a clown; from Norwegian dialect svadde meaning “big stout fellow” (OED swad, n.2.1.a).

avaunt

Get away from me.

bang thee … brawling

Strike thee for noisy quarrelling, clamouring, or scolding.

hath so large a living

Earns such a good income.

ostler

Keeper of horses at an inn.

clinchpoop drudge

Someone who lacks gentlemanly breeding, a lout employed in mean, servile, or distasteful work (OED drudge, n.1); anal-retentive peasant.

but see

The SD focuses the audience on the action of Dissumulation in stopping a fight.

In Q1 the SD says but let, perhaps the same meaning but without a strong visual component which the actors have to construct. They are not simply allowing Dissimulation through; they are alert to his choice of action in pushing through to stop the fight.

patch

Foolish person, a clown.

stand in contention

Argue or debate.

jades

Inferior, worn out horses, with the double meaning of sexually available women that a squire (gallant suitor or pimp) escorts around.

There are strong suggestions that Fraud has been a pimp as well as a disreputable ostler. His ruffian appearance at his entrance suggests he is a person who frequents bawdy houses, either as a customer or as a pimp. Here, as a self-proclaimed squire to wait upon jades, Fraud almost certainly means he attended on women, either for profit, pleasure, or both (OED squire, n.4.a).

so let that pass

A common expression for changing the subject of a conversation.

have with you

Let’s get going.

A bots

A pox, generally; specifically, a parasitic infestation of fly larvae.

’semble this fashion

Assume an outward appearance with a disguise.

’semble and cog

Dissemble (deceive) and cheat.

broker

Middleman in many business transactions, esp. pimping, fencing stolen goods, pawnbroker. Thomas, 1587 defines the term as An huckster, a regrater, a broker, a forestaller, or he that buyeth at the best hand to the end he may sell the deerer.

foist

Cheat.

In dicing specifically, to foist is to palm a die and introduce it when required (OED foist, v.1.1). Foisting takes on a general meaning as cheating by surreptitious introduction or removal of something (OED foist, v.1.2.a). It also has the less salubrious meaning of a silent fart, whose stench creeps up on others before they can withdraw (OED foist, v.3).

hand in hand

Handholding, as Helen Ostovich and Jessica Swain write, is an emblem of male collusion in money-making and deceptions of all kinds (Ostovich and Swain). While it signifies closeness, cooperation, and a kind of physical intimacy, it does not have notably romantic or sexual connotation. Instead, it has sexual potential in the gesture—if Lucre uses sex and touch to communicate her closeness to people who collude with her, we need not shut down the possibility that touch works in the same way here (though the touching seems a lot more mutual and less hierarchical than Lucre’s touch). See Introduction.

well-near

Almost.

cards in the stock

Four suits in a deck of cards.

This device appears again in the sequel, Three Lords and Three Ladies of London, and compares to a contemporaneous 1582 moral interlude entitled A Game of the Cards which the Children of the Chapel Royal staged at considerable cost before the queen at Windsor Castle and featuring the knaves of clubs, spades, hearts and diamonds who prey on a soldier, scholar (aspiring divine?), merchant, and husbandman (White).

four knaves

Four knaves or jacks in a deck of cards—one for each suit. The knave is the lowest value face card and bears the image of a knight or soldier.

ruffling out

Brazenly popping out. As face-cards, they are slipping rapidly through the fingers in a deceptive sleight-of-hand card trick (OED ruffle, v.1.9).

piece of work

Scheme, scam.

hie

Go quickly.

I would … win

I hope we achieve what we want, if we can get it by wishing.

spew out his gall

Vomit out his bitterness (OED gall, n.1.I.3.a)

Gall, or yellow bile (also called choler in early modern Europe) was one of the four essential fluids, or humors, that animated the body, determining a person’s health, mood, and temperament. The core principle of humoral medicine is to keep a person’s four humors in balance against the fluctuations in a person’s environment. Excess choler contributed to anger, bitterness, and irritability in a person. Vomiting was believed to be one method of purging excess choler. In a humoral context, then, Simplicity is saying that the vices and the environment they’ll create produce such bitterness and anger in a person that that person’s body will vomit it up in an attempt to purge their negativity. The Or else in the line suggests also, perhaps, that there will be those who swallow the corruption of the vices, thereby letting them win, while others will not be able to stomach it.

To the audience

As each vice character introduces himself, Simplicity steps in to provide a moral reprimand and set the record straight about why none of the four should be trusted. While Simplicity confronts Fraud and Dissimulation directly, here it seems more likely that he rails about Usury and Simony to the audience, but within Simony and Usury’s hearing. This stage direction is a suggestion, however—productions might imagine a different dynamic for delivery.

breaking one day

Being one day late in repayment.

fee-simple

An estate in land, etc. belonging to the owner and heirs for ever, without limitation to any particular class of heirs (OED fee-simple, n.a).

Simon-ay, … too

Simplicity plays with the sound of Simony’s name here—calling him Simon-ay (rhyming with cry) as if to say “Simon, yes, that one, yes, Simony too”. As Kermode notes, the phrase is a mistake for the more usual ‘O per se O’ cryer’s announcement […] Simplicity’s version suggests a reading of ‘oh yes, him(self) (i.e. that one), yes’ (90 n.107).

for the nonce

For this express or sole purpose; also used to say verily, indeed; a virtually meaningless tag, or intensifier (OED nonce, adv. I.1.b).

twenty livings at once

Twenty positions as a vicar, rector, or other church official, held simultaneously.

A living is a benefice—viz a parsonage, vicarage, or rectory (house) and payment to run services in church and do pastoral care as church neighbourhood (parish) (OED living, n.2.I.2).

A living confers property or income or both. The point here is that one greedy churchman can manage all these livings for the income, farming out the less desirable to poor curates who may have to pay him for the privilege, thus becoming even poorer. As his name suggests, Simony is selling religious offices. For an in-depth analysis of Simony in Elizabethan England, and in Three Ladies of London, see White, Scourge of Simony. Simony’s scam is to collect multiple livings, or parishes (incomes for clergy members that include money from tithes, leased lands, and a house (parsonages)), and sell them to people who will give him a large cut of the income. While simony was a source of corruption within the church (and in the McMaster performance, Simony’s costume positioned him as a cleric), in England it was also possible for lay people to own and control the appointing of parsonages and other religious offices, many of which came under the control of England’s wealthy elite after the Protestant Reformation (White).

dear

Expensive.

nobles

Gold coins, valued at one third of a British pound.

Since Simony is making forty or fifty pounds a month from each parsonage’s tithes and incomes, twenty nobles, valued at a bit under 7 pounds, creates huge profit. The service Simony provides to the people in the parsonage—an uneducated and perhaps illiterate person who mumbles a service only once a month—also falls far below reasonable expectations. The selling of benefices was a major problem in sixteenth-century England, before and after the Protestant Reformation. While the sale of benefices and church lands enriched the Catholic Church at the start of the sixteenth century, the problem continued into Protestant England. In the 1550s, Merchants and lawyers, gentlemen and courtiers, who purchased benefices (mostly former monastic property which came on to the market following the dissolutions) undertook obligations to preach and provide for the poor which they were both unwilling and unable to perform (Carter 239) . While Wilson’s play makes this practice seem to be the work of Catholic foreigners, it was also a direct product of early Tudor policy. Simony provides someone to mumble a service, but he and others ignore the requirement to care for the poor.

break the matter

Open the discussion.

list not

Do not choose, prefer not.

refrain us

Push us back, repress us.

bend at your beck

Bow at your command, respond to your every order quickly.

The your here borrows from Q1. In Q2, it is our beck, but logically the beck is Lucre’s, not theirs, so this may be an error in Q2.

ply

Apply diligently, work hard.

hie

Move quickly.

check

Reprimand.

prate

Jabber.

refrain

Restrain, hold in check.

get you walking

Leave, take a hike.

lewd lives

Corrupt sinful livelihoods, not necessarily only licentious or sexual.

mischiefs

Evils, not simply naughtiness, although the boy actors might smirk at the reprimand.

frivolous

Unworthy of attention.

refrain for to prove

Restrain themselves so as not to become.

scrupulous … nice

Meticulous in matters of right and wrong, fastidious.

The words (scrupulous and nice) are effectively synonyms. Although the words seem complimentary, Usury treats the appropriate moral behavior as a bad thing, thus reflecting the twisted mind of the evil speaker.

speed

Succeed.

my man

My servant, hired man.

your goodman

Your husband.

Simplicity is asking for more than Love is willing to grant—by calling him again her good man with a space and an altered inflection in the next line, she rejects the marital implications of the term goodman.

goodman

Woman’s husband, or man of wealth or social standing who is not a member of the gentry.

swap up

Strike up a bargain; negotiate.

their sights likes not me

I don’t like their looks.

Simplicity

Q2 wrongly assigns this speech to Fraud, perhaps because the printer saw that name heading the line, not realizing by the sense that the actual speaker had to be Simplicity, who is not part of the pack of cards described.

clubbish knave

Knave or jack of clubs. Simplicity associates each character with a suit from a deck of playing cards based on their temperament and appearance.

More.

drudge

Someone who toils in distasteful work.

Iwis

Truly.

do’e … eyes

Are you trying to bribe me, to make me close my eyes to your activities?

Simplicity’s meaning here is debatable. Mithal has suggested Simplicity means throw out my eyes for, which means to look out for, as in Simplicity will leave to find the lady he serves (116 n.237). But Kermode suggests that based on Usury’s response, Simplicity is offering Usury money or is asking Usury to pay for him to get service with a lady, for ‘to put out one’s eyes with giftsʼ = to bribe (93 n.177). The OED also defines the phrase to put out a person’s eyes with (a gift, a bribe, etc.) as to get a person to pretend not to see something by bribery (OED eye, n.1.P.2.q.i.ii). This reading suggests that Simplicity is either accusing Fraud of trying to bribe him (though contextually Fraud is threatening, not bribing), or, more interestingly, that Simplicity is signalling to Fraud that he is willing to do as Fraud wishes—leave and turn a blind eye to the vices—if he receives a bribe. This undercuts all of Simplicity’s attempts at a moral high ground, and explains why Usury is insulted in the next line.

rated at

Scolded.

it skills not

It matters not.

flouted

Insulted.

clergy beyond the seas

Foreign clergy. Presumably Simony means Catholic clergy on the continent.

point

A very small part of something—specifically, a lace used to tie sleeves to doublets, and doublets to hose.

shifted

Survived on my own, used my own devices including fraud and other disingenuous practices.

jeopard a joint

Take a risk, including a broken bone.

right stamp

Moulded like me.

quail

Intimidate.

doughty … hangman of

Stout and powerful mind needed to become a hangman.

Kermode keeps the Q1 version of this line doughty heart to make a hangman off, and notes that This Q1 reading suggests that Fraud is clever enough to avoid or get rid of the hangman (94 n.192) Walker likewise uses off but interprets the line as to see off the hangman, reversing the execution process by pushing the hangman off the ladder to hang (413 n.190). Q1’s off better suits the end rhyme of the couplet, but Q2’s of has a clearer meaning when paired with make (of in this sense meaning the material or substance of which something is made up or consists (OED of prep. VII, emphasis mine)).

coff

Cuff?

Possibly physical punishment, as in a blow with the fist, or with the open hand (OED cuff, n.2.1.a), or Thieves’ cant for the cove, the man in charge (OED cove, n.2), which might be spelled cofe or coff in the 1500s, or cove by the 1600s. Editors suggest that this word represents a tool of criminal justice that Fraud helps people evade, but debate what specifically coffe means. The original spelling in both quartos—coffe—has no specific modern meaning of its own but instead points to several modern possibilities. Kermode and Walker suggest that the word might be a version of corf, a basket or cage. In this sense, the line might mean that Fraud can help people escape their prison cells. In canting dictionaries, however, cofe, and its alternate spelling cove, appear as thieves’ slang for a man (Harman 1567). As canting dictionaries emerge, cove, or cuffin, becomes codified as a way to describe men by appearance or profession, as in Kinchin Cove: A little man (Head, Cove, or Cuffin and Kinchin Cove). Head’s dictionary lists many cove root words for hangmen (Nubbing Cove and Toppin Cove) and other dispensers of judicial violence, such as the Floggin Cove or The whipper of Bridewell (Head, Nubbing Cove, Toppin Cove, Floggin Cove). While this modern edition uses the spelling coff, performers have the option of saying cove to rhyme with of in the line above. Dissimulation’s logic here seems to play on both sides: Fraud might make a good (i.e. corrupt) hangman who takes bribes to save a prisoner; or Fraud might be tough enough as a bargainer to make the hangman merely seem to hang the prisoner.

lusty

Joyful, merry; cheerful, lively (Obsolete) (OED lusty, adj.1.a).

While lusty has an almost exclusively sexual connotation in modern English, it can mean a range of things in the sixteenth century, from healthy, to pleasant, to beautifully-dressed, to voluptuous, and inviting sexual desire. The primary factor here is Lucre’s self-confidence. Dissimulation may well be responding to Lucre’s sexual appeal when he offers to kiss her, but the kiss was actually a formal greeting between equals, like a guest greeting his hostess, and usually applied only to entering a private house. To call Lucre’s appearance lusty in the sixteenth century suggests that her appeal is multi-dimensional.

placed

Hired.

with a stomach

Eagerly, with relish or appetite.

speed

Succeed.

rope-ripe

Artificial words, words/actions likely to result in an execution by hanging.

Lucre plays on the two meanings of the word, paralleling Dissimulation’s tricky substitution of bless for kiss in the previous line by pretending to mistake rope-ripe for rhetoric.

took me at the worst

Assumed the worst about me, chose the worst interpretation of my words.

my grandmother, … Venice

While Lucre herself is not an Italian like Mercadorus, Wilson presents her as an English social problem of Italian origins. Usury, likewise, is either an Italian immigrant (though one savvy enough to lose his Italian accent) or a servant to Italian Lucre (Venice in particular had a reputation for usurious banking, but Italy was broadly a place of great banking innovation and complexity). See Vitkus, Foreign Parasites, English Usurers, and Economic Crisis for an in-depth analysis of usury’s connection to Italian and other foreign markets in Elizabethan culture. While Venice has important connotations as a trade and banking center, though, Duncan Salkeld also notes that Venice was renowned for its courtesans; these women were famed throughout Europe for their wealth, beauty, and good breading, and often featured in English travellers’ accounts of Venetian society. Lucre’s Venetian origins mark her, Salkeld argues, as a whore (Salkeld).

Gramercy

Thank you.

whence

From what place.

nursery

Childhood environment, place where people develop skills or attributes (OED nursery, n.I.2.b).

hitherto

Before now.

Rome

Simony’s Roman origins link his corrupt ways to the Catholic Church and the Vatican. While Simony, like Mercadorus, is Italian by birth and upbringing, he does not speak with an Italian accent. See Kelly, Anti-Catholicism and Protestant Polemic for a detailed analysis of the other Catholic cues in Simony’s speech, and a discussion of Simony’s costume in original productions and in the 2015 McMaster production.

On a time

On one occasion.

monks and friars made a banquet

Members of Roman Catholic fraternal orders hosted a sumptuous dinner party; ironically, the term banquet also referred to the Eucharist or Lord’s Supper (OED banquet, n.1.1.c).

Despite vows of poverty, monks and friars had a reputation for greed in late medieval Europe. During the English reformation, monasteries and friaries were dissolved and most of their assets were seized by the crown and sold off. This banquet illustrates the corruption of the Catholic fraternal orders in the popular imagination of Protestant England. These monks and friars are more interested in feasting with wealthy merchants than in upholding their vows of poverty, performing acts of charity, or devoting themselves to spiritual practices. A banquet with Catholic monks and friars likewise illustrates the greed and corruptibility of English merchants, who will maintain relationships with Catholic clergymen if it enhances their profits and facilitates the spread of corrupting ideas like simony in England.

for advantage … touch

To advance themselves where profits are concerned.

served

Was favourable for sailing.

Made bold to

Took the liberty to.

repair

Journey to you.

long … what fashion

Their established position (as English-born vices), and how they operate.

steward

Servant who controls the domestic affairs of a household, supervising the service of his master’s table (OED steward, n.1.a). Stewards often supervise other servants and manage household expenses, so this position requires considerable trust.

An office … preferred

Roughly, “being steward means that all requests for my favour (assistance, a job, a recommendation, etc.) will have to get your approval first before they reach me.”

letter of leases

Rental agent, property manager.

trusty

Faithful.

Since Usury will have an active role in managing Lucre’s complex international trade operations, it is possible that trusty here might hint at trustee, a legal word which first appears in 1636 meaning a person into whose possession assets, property, etc., are put, to be held or administered for the benefit of another (OED trustee, n.1.a). While used as an adjective here the word likely means “faithful”, Usury’s specialization, as a secretary, in the administration of wealth (work which would literally become that of a trustee), points to the evolution of complex financial systems which require new professionals with specialized knowledge. For a detailed analysis of early modern English banking in this play, see Vitkus, Foreign Parasites, English Usurers, and Economic Crisis.

secretary

Secretaries wrote on behalf of their employers, assisting with correspondence and records. It seems that Usury will have an active role in managing Lucre’s complex international trade operations (see trusty (2) above).

liberal

Free, unrestricted.

We will … over

I will have you supervise; Lucre is using the royal we here to express her authority, from this line down to her exit.

rest … in aught

Remain at your service to do anything.

my palace … the house

Lucre reverts to my palace and my butler, but in Q2 drops Q1’s I and simply refers to herself as myself. The attempt to revert to a royal we is peculiar, with the deleted I but she retained my. No doubt her imperial manner leaves listeners in no doubt about who rules the rout. See also 2 for Lucre’s command see instead of the more polite pray in Q1 (link).

Crafty Conveyance

The butler’s name means cunning, furtive theft (OED crafty, adj. 3.a.; OED conveyance, n. I.4). This character never appears on stage. But the butler is definitely a light-fingered thief.

The best … company

Lucre extends traditional hospitality here. See Palmer, What We Talk about When We Talk about Hospitality. Palmer notes Lady Lucre’s conventional expression of old-fashioned hospitality, but points out that hospitality inflects her dealings with the vices earlier in the play as well.

resort

Direct yourselves, withdraw.

fell out pat

Happened in a way that suits our precise purposes.

anglers

Fishermen, and, in thieves’ slang, thieves who use hooks attached to long rods to steal from otherwise inaccessible places (OED anglers, n.2.2.a).

smoke-pence

Tax of one penny paid to Catholic priests as a tithe on wood burnt.

Shortly after the Reformation, a yearly hearth tax to the crown was rumoured to be in the works, but was not formally put forward (Bush 317). OED’s references to smoke-pence and smoke-penny, as well as smoke-money, offer later dates. Other alternative terms were hearth-silver, hearth-penny, or chimney-money, as listed in Coles, chimney-money, fuage; Coles surprisingly tells us that ministers had to pay hearth-tax to the Church.

Two references to smoke-pence also appear in Samuel Rowley’s 1605 history play about Henry VIII, When You See Me You Know Me. Rowley’s corrupt Cardinal Wolsey mentions The smoake pence, and the tributaries / That English chimnies pay the Church of Rome as one treasure in a long list of assets he orders his allies to horde and hide for Wolsey’s swift aduancement to Saint Peters chaire (Rowley B4v). The second reference comes from Will Summers, Henry VIII’s jester, who calls out smoke pence as a tax the clergy wastes on useless luxuries for themselves. Sommers says we shal be all poore shortly: you haue had foure hundred threescore pound within this three yeare for smoake-pence, you haue smoakte it yfaith (Rowley F2v). Although Rowley’s play is set during the Reformation, Wilson’s reference to smoke pence here suggests that the clerical abuse continued past the Reformation (as the play is set in the present day of 1584 or 1592). Officially, it was discontinued during Henry VIII’s reign, restored during Mary I’s reign, and discontinued again under Elizabeth I’s reign. Evidence indicates, however, that the Church of England continued the tax into the eighteenth century at least.

Peter pence

Annual tax of one penny from each householder having land of a certain value, paid in England until the Reformation to the papal see in Rome (OED Peter’s penny, n.1).

This tax was also sometimes called the hearth-penny. As Mithal writes, It was first paid by King Offa after the visit of the two Papal legates concerned in the erection of the Arch-bishopric of Lichfield in 787, and appears to have continued by Offa and his successors into Tudor times (with a few interruptions) (118 n.344).

poll pence

Tax, perhaps by the poll, or head, or perhaps punning with Paul as a third Catholic tax.

Poll money (tax levied at a fixed rate per person) was instituted in England in the fifteenth-century (OED poll money, n). There are few direct references to a poll pence however, leading Walker and Kermode to suggest this might be Simony’s invention of a Paul’s pence to mirror Peter’s pence (Kermode 98 n.86; Walker 416 n.271). The Q1 spelling of Pawle with the capital p suggests the pun, but the Q2 spelling of powle is more ambiguous. The joke likely works on multiple levels—Simony lumps in a current English state tax with discontinued Catholic taxes to make all taxes seem corrupt.

thirty-three … time

Catholic Queen Mary I of England succeeded her protestant brother King Edward VI, and restored the Catholic Church in England in 1553 but died in November of 1558, thirty-three years and some months before Q2’s publication in 1592. While Henry VIII cut Rome off from its English collection money, Queen Mary restored the collections during her nine-year reign. Elizabeth I separated England from the Catholic Church when she succeeded in 1558. The number of years since Mary’s reign mentioned (twenty six in Q1 and thirty three in Q2) places the play’s action within a year of its publication date. The attention to the date serves to further disambiguate the play’s setting and remind the audience that the play critiques actual, contemporary London.

gear

rubbish (Obsolete); stuff, nonsense (OED gear, n.III.10.a and 11.a).

Here, the word is depreciatory. Gear often means apparel, and in the 1550s could refer specifically to vestments (OED gear, n.I.1.b). If the actor playing Simony is costumed in the vestments and apparel of a Catholic clergy-member, he could be referring to his clothing as the gear full of symbols unrecognizable to anyone not exposed regularly to Catholic clergy. See Kelly, Anti-Catholicism and Protestant Polemic and the coda to White, Scourge of Simony for discussions of Simony’s costume.

Friar Austin

Saint Augustine of Canterbury.

Saint Augustine was sent by Pope Gregory the Great to christianize England, which was then controlled by Anglo-Saxons. It was the first official mission to England, and Saint Augustine became the first archbishop of Canterbury.

great army

As Alan Smith writes, the place in history of Augustine’s mission to the heathen English is a well-defined one and the main facts are not in dispute (23). There are no records of Augustine travelling with an army or forcibly subduing anyone. Contemporary historians agree that Augustine travelled to England with around forty Roman monks and was eventually welcomed by King Ethelbert (Smith 23). King Ethelbert was a pagan, but he had a Christian wife who had her own chaplain with her at court (Smith 23). While Augustine faced resistance from the existing British bishops, to suggest his specific conversion efforts were a massive or forcible subjection is a hyperbolic rewriting of history. It is unclear whether Simony aims to deceive an audience who would know better, or whether popular understanding of Augustine’s mission had strayed from the historical record in the sixteenth century. Mithal suggests that Simony’s account of the army might be some piece of folk legend, possibly inspired by anti-Catholic animus (118). At the time of the English reformation, Smith writes, many sought to upgrade the traditions of Apostolic foundation to the level of accepted fact and systematically denigrated the role of Augustine, who from being a glorious founder was recast as the first perverter of a pure faith with imported Papal error (28). From this perspective, Simony’s account of Augustine makes the Christianisation (in so far as it was a Catholicization) seem like a hostile foreign invasion. The references to England having to live under the papacy’s laws and pay tribute to Rome make England’s Catholic past sound like an occupation.

mind-a dat

Mercadorus speaks in an exaggerated stage-Italian accent.

While the play features several non-English characters, Mercadorus is the only character marked as foreign by accent. See Brown, Courtesan, Merchant, Zany for a discussion of Mercadorus as a blend of Zanni and his master Pantalone. Mercadorus’s accent marks him as comical, and in so doing reinforces the play’s xenophobic view of foreigners travelling through England. For a nuanced analysis of early modern attitudes to immigration, see Oldenburg, Alien Albion.

Lucar

Lucre, pronounced LU-car to rhyme with far.

Lucre is consistently spelled as Lucar in both quartos of the play. In this instance, the Italian sound emphasizes rhyme with the next line; most words rhyming with Lucre have “er” endings rather than “ar”, as here. See Textual Essay for more detail.

un-e shentleman-a

A gentleman.

signor

Sir, in Italian.

Meshier Davy

Master Davy.

withal

With me.

Madonna

My lady, but a term Catholics conventionally associate with the Virgin Mary.

Madonna was a respectful (or mock respectful) form of address, usually to an Italian woman (also used in literal renderings of Italian speech) (OED Madonna, n.1.a). The term had unflattering connotations in England, as it was connected to Italian courtesans: a madonna from the turn of the seventeenth century onwards could mean a loose or flirtatious woman, a prostitute (OED Madonna, n.1.b).

Dissimulation

This speech prefix is absent in both Q1 and Q2, but Q2 provides Dissim as the catchword at the bottom of B2r, strongly suggesting that Dissimulation speaks these lines.

ax-a me no shush

Ask me not such.

de world … own

This phrase appears in Foxe’s Actes and Monuments, in a poem called O ye that loue the Lord, see that ye hate the thing that is euill, which follows Robert Smith’s examination and martyrdom. The poem warns the reader to remain devout and attentive to the afterlife: For in the worlde ye shall haue wo, / Because ye are vnknowen: / And for because ye hate the world, / The world will loue his owne (5.81). Mercadorus has no difficulty pursuing lucre through dissimulation because he intends to fully follow a material and temporal path to wealth (hence, so long as the world endure) rather than a spiritual path to heaven.

tree

Three.

liberality

Generosity in gift-giving, or open-mindedness.

mershant

The original spelling with an “s” appears to signal Mercadorus’s accented Italian pronunciation.

salva vostra buona grazia

Saving your good grace.

Kermode proposes this modernization of the original line, sarua voutra boungrace (Kermode 100 n.29). The original is garbled Italian, so this modernization enhances Mercadorus’s fluency in his native language. He should be fluent in Italian, although he has probably cobbled together various languages to serve his mercantile purposes. Wilson’s Italian, on the other hand, often seems more like French.

convey

Transport, but with the connotation of steal or carry off clandestinely, make away with (OED convey, n.1.6.a and b). This usage is frequent in the Falstaff scenes of Shakespeare’s Henriad and in Famous Victories.

grush

Grudge.

vetches

Legumes.

bell-metal

Alloy of copper and tin used to make bells.

Anders Ingram notes that although export of metals with military value was banned, By the late 1570s exports of tin, lead, and bell metal seem to have been a substantial element of English trade to the Ottomans (Ingram).

bugles

Tubular glass bead, usually black (OED bugle, n.3).

baubles

A child’s plaything or toy, or a showy ornament or trifle (OED bauble, n.I.1.a and I.2).

Lucre orders Mercadorus to trade useful commodities for cheap ornaments. See Ebrahim, Baubles for Bell-Metal for an analysis of Anglo-Ottoman trade. Ebrahim traces a powerful comparison at work in Lucre’s speech, where Turkey is characterized as a thriving, ambitious, and productive place whereas London is depicted as vain and frivolous (Ebrahim).

jet will … straw

Jet, a hard black semi-precious stone, will carry an electric charge that can attract straw. Lucre is instructing Mercadorus to tout the showy and improbable properties of his wares.

Mithal and Kermode turn to Thomas Browne’s Pseudodoxia Epidemica to try to verify Lucre’s claims. Thomas Browne was skeptical of popular beliefs like the ones Lucre advances in this speech and refutes errors in popular beliefs on a variety of subjects. On the subject of jet, though, Lucre’s knowledge echoes Browne’s assertions. As Kermode relates, Thomas Browne adds a number of other ‘Electrick bodiesʼ into the Ancients’ knowledge of jet and amber, which will attract straw when rubbed (101 n.49). See (Robbins 166).

amber … fat

As Kermode relates, this is probably referring to ambergris, wax-like fatty substance from whale intestine, used in cookery, and perfumery; the resin of amber was known in the period and, interestingly, is particularly electrified by rubbing (101 n.49). Walker further suggests that to make fat might mean to impregnate (Walker 418 n.49-50). Lucre’s sales-pitch argues that the qualities of the amber will somehow transfer to the owner.

Coral will … sick

Lucre suggests coral might be useful as a diagnostic tool. Mithal notes that this is probably a reference to some popular superstition (119 n.422). The Early English Books Online database contains at least two published tracts extolling the medical properties of Coral: Theophilus Garencières’s The Admirable Virtues, and Wonderful Effects of the True and Genuine Tincture of Coral, in Physick (1676), and R.B., M.D.’s Coral and Steel, A Most Compendious Method of Preserving and Restoring Health (1700). Garencières recommends Coral for everything—from epilepsy, to plague, to irregular menstruation—but also assigns Coral diagnostic powers. Red Coral, he writes, will grow pale, blewish, and maculated with several spots, when it is worn by one that is nigh death, or dangerously sick, and will foretell Diseases by changing of its colour (Garencières 15). These tracts—in which coral is hyped as a cure-all—are the kind of grasping pseudoscience Thomas Browne writes against in Pseudodoxia Epidemica (1646-1672).

crystal will staunch blood

Doubtful claim: crystal, or a clear, transparent mineral substance like quartz, will stop the flow of blood.

In refuting the erroneous popular belief that crystal is simply ice, Thomas Browne argues that crystals have medical properties that ice does not, writing that the use of Ice is condemned by most Physitians, while that of Christall commended by many. For although Discorides and Galen, have left no mention thereof, yet hath Mathiolus, Agricola, and many others commended it in disenteries and fluxes; all for the increase of milk (41). Notably while even a leading skeptic accepts the medicinal properties of crystals, these properties do not match with what Lucre promises.

glozing

Explaining away by extenuation or cajoling, specious talk or representation (OED gloze, v.1.2).

utter

Bring to market, sell.

hedar

Hither.

Bell-metal … ordnance

A copper/tin alloy to make military supplies like guns and artillery.

As Fatima Farida Ebrahim notes, this alloy often came from former Catholic church bells melted down and exported to the Ottoman Empire where it was used in the production of armament (Ebrahim).

scall

Scaly or scabby (term of abuse for people suffering from psoriasis or eczema).

sleight

Cunning strategy, trick.

cast

As Kermode notes, cast is a multivalent word: (1) way of doing things, inclination (2) stroke, touch (3) device, trick (4) skill, art (102 n.67).

searcher

Customs officer who searches for dutiable or contraband items.

’scape

Escape.

kind

Naturally apt in the job; grateful or obliging.

artificer

Artisan or craftsman, but also trickster performing shoddy work such as Lucre requires for quick profit (OED artificer, n.3).

I’ll consider … can

I’ll repay the favor later, if possible (allowing for an escape clause with if).

In Q1, Artifex says I’ll consider it hereafter if I can (emphasis mine), making it clear that he will consider the favour Dissimulation grants later. In leaving out the it, the phrase in Q2 is slightly less clear (what will he consider?), but the ambiguity provides a more shadowy plausible deniability to what, in Q1, is an open and clear attempt to bribe Fraud. Artifex’s inability to bring himself to say it in Q2 leaves open the possibility that he is uncomfortable but desperate in his opening request.

undone

Financially ruined.

scant

Scarcely.

proffered

Put forward.

strangers

Immigrants, foreigners.

Stranger and alien were interchangeable sixteenth-century terms for not only immigrants but also merchants passing through England, tourists, diplomats, and anyone else from outside the realm (Oldenburg 3–4). England received two major waves of immigration in the 1540s and 1560s (largely as a result of Protestant/Catholic conflicts on the continent), but that anti-immigrant rhetoric spiked in the 1590s around discourses of economic competition like the ones Artifex cites here. Oldenburg also argues, though, that while Wilson and other writers capture this anti-alien sentiment, there were other factions and forces in England who worked towards a cosmopolitan marketplace that welcomed foreign trade, foreign goods, and foreign workmanship alongside domestic wares.

nice

Ignorant, silly.

ordinary price

Cheapest going rate (for good English work, not the lower rate for foreign imports).

That my … prefer

That you will enrich me and my condition by recommending me for a job.

thrifts

Prosperity, or thriving […] through industry and hard work (OED thrift, n.1.1.b).

husband

Provider.

Fraud uses husband here to refer to himself as a head of household or master who provides for his subordinates, including servants and children.

pettifogger

Derogatory term for a lawyer.

Originally: an inferior legal practitioner who dealt with petty cases […] Hence: a lawyer who engages in petty quibbling and cavilling, or who employs dubious or underhanded legal practices (OED pettifogger, n.1.1).

a Lawyer

This lawyer is possibly the same lawyer identified as Creticus the Lawyer in the final scene.

pleader at the bar

Barrister who has been called to the bar (see OED bar, n.1.III.ii.24) and can plead cases.

obtain my … list, for me

Get my job, take my brief, so that I lose the small amount of money for the cases I argue in court. As far as I am concerned, such cases cannot give me a living.

He finds defending Conscience and Love a worthless proposition. His bitterness at that wasted effort drives him to seek Lucre as a new client.

list, for

Wish for. The Lawyer tells people who wish that he would plead for Conscience (potentially people in the audience) to do the job of defending her themselves.

firmable

Solid, or winnable.

The word appears in the OED, but this play provides a unique example of it. The OED definition is worthy to be ratified (OED firmable, adj). As Kermode notes, ‘firmʼ as a verb can mean ‘ratifyʼ, but the sense of ‘settlingʼ … or winning the suit is plausible too (OED firm v. 5.a. qtd. in Kermode 105 n.128).

speed

Be successful, make lots of money winning cases.

at the bar

In court.

goodwill

Support in a cause or scheme.

’Tis about … wot

It’s about two weeks ago that the lawsuit happened, I know.

let good matters slip

Deliberately lose cases that would have won on merit.

what shall … list

What will stop us from contorting and distorting the law however we like.

one of our profession

One who professes the same beliefs we do: that is, who believes in fraud and dissimulation to get ahead financially.

importunate

Irritating in your persistent requests.

pity and love

Compassion and charitable humanity, as in 1 Cor. 13, speaking for the values of faith, hope, and love (unselfish concern for others).

them to prove

To verify that their words (like their promise to help Artifex) are true.

stay

Standstill or impasse, point where progress or action is impossible (OED stay, n.3.3.a).

a fellow among goodfellows

A thief among thieves; by implication, just like everyone else who succeeds in life.

by Saint Luke’s horn!

A bitter oath.

As Walker notes, this blasphemy reflects Luke 1:68–9: ‘Blessed be the Lord God of Israel; because he hath visited and wrought the redemption of his people: and hath raised up an horn of salvation to us, in the house of David his servantʼ (Luke 1.68-69 qtd. in Walker 422 n.161-162). This paradise of riches is the new salvation of the chosen people.

Simplicity

The scene’s opening lines 1–8 appear to pose a problem of attribution for early editors Collier and Hazlitt (Kermode 67). Collier and Hazlitt attribute line 4 to Sincerity and line 5 to Simplicity. Modern editors Kermode and Walker retain the speaker prefixes that appear in Q2.

got my living hardly

Made ends meet through hard work and hardship.

just

Honestly.

lust

Pleasure, enjoyment.

hand to

Signature on.

benefice

Generally, a favour or a kindness. Specifically, an ecclesiastical living, or church office (OED benefice, n.6).

make … read it

Pretend to read the letter.

Simplicity cannot in fact read, and the stage direction and lines that follow suggest comic stage business where Simplicity transparently attempts to cover up his ignorance (Kermode 107 n.15).

bequest you to

A malapropism for “request of you”.

wad besire

Simplicity’s rustic pronunciation of would desire.

if I … divinity

If I had studied alternatives to divinity.

Sincerity is educated in Divinity, making him an excellent candidate for a benefice, but no jobs are available to him without a patron.

physic

Medicine.

not on … God’s word

Not attend church on Sunday.

For more information on Elizabethan era attitudes towards the Sabbath, see pages 409–19 in Greaves, Society and Religion in Elizabethan England. The frequent calls to raise church attendance in Elizabethan England and crack down on violations included several bills that went to Parliament but did not get passed into law. Puritans and other reformers frequently claimed that people were being drawn away from church on Sundays by popular entertainments like bear-baiting, play-going, fairs, and other pastimes. For example, in 1584, the year of Q1’s printing, the first bill of session was for a more reverent observance of the Sabbath but the bill was scrapped and a new one formulated to ban unlawful games, hunting, hawking, bear-baiting, and wakes during church services, and to prohibit fairs, markets, and setting up stalls on Sundays (Greaves 415). Queen Elizabeth, however, who had no personal taste for a strict Sabbath, vetoed the bill (Greaves 415–6). Sincerity’s complaint is another way that the play speaks specifically to the moment of its publication and performance, although arguments over how to regulate church attendance and leisure activities never vanish entirely.

run to bowls

Play bowling games.

Bowls can refer to range of games that involved rolling round balls, or bowls. Some versions of the game were played on a green (as in modern lawn-bowling), some were played on carpets in drawing rooms, and some versions of the game were played in alleys with skittles or kayles (versions of modern bowling pins), though that specific kind of game is singled out and mentioned in the next line as kettels. Billiard balls were also sometimes called bowls.

kettles

Kayles, a game similar to ninepins or modern bowling, where players aim to knock down nine pins, or kayles, in as few bowls as possible.

The origin is thought to be either Dutch kegel, an icicle (essentially, ninepins with cones or pins in an icicle shape); or French quilles, bowling pins. The other possible game is curling, popular in Scotland, Netherlands, and other northern countries, including Canada, using kettle stones, 44-pound stones shaped from Ailsa Craig granite, which players bowl down a sheet of ice. See details in Pieter Bruegel the Elder’s Winter Landscape with a Bird Trap (1565). Curling was played at least a few decades before 1511, the date discovered on a kettle stone found in a pond in Scotland. Rules for the game are posted on various internet sites. The traditional kettle hung on a hook over an open kitchen fire: its handle was convenient for carrying and bowling, and every home had at least one.

While in the seventeenth century the game kettles came to be spelled skittles (first use: 1634), the older term, kayles, dates the game back to the fourteenth-century in England. The variants, keals and kiles, may date later, but kettles pronounced with a glottal stop as “ke^les” sounds like kayles; the glottal stop is a linguistic habit common in northern dialects. Hazlitt adopts the seventeenth-century spelling, skittles, but many different spellings for this game circulated in early modern England.

your head

Sincerity speaks to Lady Conscience in her abstract moral duty to keep others safe from God’s wrath by preventing them from playing instead of praying on Sundays. His answer to Conscience’s question gives both his physical and educational background, as well as his spiritual growth, framed as a sermon. He expresses his concern for the nation’s conscience, or awareness of right and wrong. The textual alternative, as in Q1, is our heads, including himself and Simplicity in his desire for moral improvement, and not specifically addressing Conscience’s representative job in life.

say his book well

Preach well, or demonstrate his education.

it will hit

It (his preaching) will hit home (with his parishioners), it will affect the conscience, feelings (OED hit, v.I.8.a).

ultra posse non est esse

I can do no more than I can (Latin proverb).

This Latin proverb appears in many early modern English contexts, but most famously perhaps in a love letter from Henry VIII to Anne Boleyn where the King expresses a limit to what he can do to bring them together: there shall be no time lost that may be won, and further cannot be done; for ultra posse non est esse (Savage 46). The English translation is from John Clark’s Phraseologia Puerilis, a 1638 dictionary of translated Latin phrases aimed at young Latin students (Clark E3v). In Clark’s Paroemiologia Anglo-Latina, an English-Latin dictionary of proverbs published in 1639 for adult reference, he translates the same phrase as no living man all things can (Clark K2r).

picture of … corner

Simplicity’s joke is now lost. Most editors, including Kermode and Collier, suggest that Simplicity is poking fun at someone in the audience. As Collier notes: possibly a personal allusion to some body sitting ‘in the cornerʼ of the theatre; or it may have been some well-known character of the time (239 n.P184 l.33). Mithal suggests that the reference is to the rather ludicrous posture of Simplicity as he squats down to make his back into a desk—a kind of vulgar joke (122 n.602).

suffice the turn

Satisfy the deed, complete the act of good will (OED turn, n.I.i.4.a).

enow

Enough; chosen to rhyme with bow.

washing-block

Large wooden block or board used to scrub or beat clothes against while laundering.

yonder boy

As Kermode notes, Wilson is perhaps referring to another audience member, as he did the first time he bent over, but Hospitality’s reply suggests the line is directed at him (110 n.59). Hospitality is described as an old man, but Mithal interprets Simplicity’s mistaking of Hospitality as a boy as a clown’s joke (122 n.612). But it could be a theatrical joke: boys in tied-on beards did play old men as wizened little fellows. Alternatively, Hospitality’s reply might simply be reassurance that the audience will not mock Simplicity, in order to keep Simplicity bowed and still while he signs the letters.

strangers

Foreigners, newcomers, out-of-town visitors.

Hospitality as a virtue was supposed to extend to everyone—from rich to poor, from neighbour to stranger. Stranger in an early modern context could simply mean someone you hadn’t met (as it tends to today). Or it could mean guest or visitor, in contradistinction to the members of the household (OED stranger, n.3.a). It was often a catchall word for foreigners and newcomers to a place. Why Conscience asks this question is unclear—is she anxious near strangers or is she simply curious about the guests she will be joining? For information about early modern conceptions of hospitality and the ways Wilson subverts them, see Palmer, What We Talk about When we Talk about Hospitality.

cheer

Food, entertainment.

miser

Person who hoards wealth and lives miserably in order to do so […] an avaricious, grasping, or stingy and parsimonious person (OED miser, n.2.a).

great bag pudding

A sausage of minced meat, suet, oatmeal, etc., boiled in a bag made of entrails, like haggis in a sheep’s stomach.

souse

Parts of a pig (feet and ears in particular) preserved by pickling.

great fare

Abundant food, feasting.

banqueting

Feasting, but since great fare already means a feast, banqueting here could mean a course of sweetmeats, fruit, and wine served either as a separate entertainment, or as a continuation of the principal meal, but in the latter case usually in a different room; a desert (OED banquet, n.1.3.a).

to take his part

To support him.

swelt his heart

Exert himself to the utmost (OED swelt, v.II.7).

cogging man

Deceitful henchman, syncophantic servant.

Cogging—which means deceitful dealing or flattery—is a crude synonym for dissimulation and the name of Dissimulation’s servant.

spokeman

Voice, representative.

’liver

Deliver.

room

Place, domain.

Sincerity seeks a clerical office and Simony sells clerical offices, so Sincerity’s request falls in Simony’s domain.

And thou … choose

If you will help me without a fee, help me. If you will not, then don’t (whatever you choose, I will not bribe you).

there they letters be

The line indicates that Dissimulation puts the letters down, but doesn’t specify where he puts them or at which moment he does it. Actors can adopt the suggested stage direction or form their own judgement about what happens when Dissimulation refuses the letters.

captious

Disposed to find fault […] carping (OED captious, adj.2).

testern

Teston (small Henry VIII coin).

Debased and depreciated, a teston was not worth the value it promised on its face. Or perhaps Simplicity simply meant to say either testy, irritated by small checks and annoyances, resentful of contradiction (OED testy, adj.2.a) or stern, cruel and merciless (OED stern, adj.3). Simplicity is trying to threaten/impress those around him by using two insults in language he doesn’t quite grasp.

semblation

Deceitful or hypocritical; dissembling.

The word is a possible, though unusual, variation of the word semblant, meaning something that exists only in appearance or pretence (OED semblant, n.2.a). Both Q1’s ’sembling and Q2’s semblation play on Dissimulation’s name, but while ’sembling and dissembling are recognizable words, semblation, like testern, is a clownish malapropism.

’less

Unless.

facing

Swaggering, confrontational behaviour.

If.

speed better

Get better results.

tenor

General sense or meaning of a document; substance; in the legal sense, the exact wording (OED tenor, n.1.I.1.a).

The term in Q is tenure, an alternate spelling in the early modern period, but which refers to the title by which the property is held; or the relations, rights, and duties of the tenant to the landlord. Although Sincerity seeks a living in a parish that would ensure his income and dwelling, with Lucre as the facilitator or employer, Lucre refers only to the letter, a document, and not to the living, which she claims is out of her hands to assign.

This I does not appear in Q2 but does appear in Q1, and has been inserted here for grammatical clarity.

goodwill

Frequent now as two words, but specific then to legal meaning, permission to enjoy the use of a property (Obsolete) (OED goodwill, n.4.a); but also more generally a spirit of helpfulness or friendliness, support for, or cooperation towards, a cause, scheme, etc.; benevolence (OED goodwill, n.2.a).

for want of ability

Because I lack personal wealth; pecuniary power (OED ability, n.5).

Sincerity ironically does not lack the ability to hold ecclesiastical office, but he does lack the ability to bribe Simony for such an office.

except

Unless.

If to follow … bent

If you are willing to entertain even an iota of the tiniest interest in my advice.

An it … little

Little as it might be.

the parsonage of Saint Nihil

Nihil in Latin means “nothing”. This parsonage does not exist and is worth nothing. See White, Scourge of Simony for parallels between this gift of a fake parsonage, and Elizabeth I’s gift of a fictional parsonage to Richard Tarlton.

if thou … fall

If you watch over it until it falls vacant, dissolves, or collapses (which it never will, as it is non-existent).

[To Lucre]

Sincerity’s response to Lucre’s offer is not captured in words, either because he responds with silence or because Simplicity is too quick to interrupt here and make his own request to Lucre.

when you … money

Simplicity is asking on behalf of his lady, Love, when Lucre will take possession of Love and Conscience’s house as collateral for their debt, and lend them more money.

merrily

Happily, on pleasurable but impractical things.

Michael’s

Simplicity has misheard the name of the parsonage Lucre granted Sincerity. Saint Michael’s is a credible name for a parsonage while Saint Nihil is a joke.

As Mithal notes, the original spelling, Michel, is an obsolete, dialectical and archaic form of ‘mickle’ which means ‘great’ in various senses. Here it means ‘great in size, and, therefore, great in value or income’ (123–4 n.718). Mithal goes on to argue that Simplicity here is deliberately misconstruing ‘Nihil’ as ‘Michel’, firstly in order to derive fun out of an awkward situation, and secondly, to extract a commission from Sincerity for the pains he has taken on his behalf (123–4 n.718). Kermode adds that the pun is convincing, but whether Simplicity is doing this deliberately or ignorantly remains open to question (114 n.154).

sell … money

Bells could be melted down to make bell-metal, one of the commodities Lucre orders Mercadorus to traffic earlier in the play, and which Mercadorus sells to make military ordnance.

set for to flout

Resolved to insult and mock me.

Sir Nicholas Nemo

Nemo means “No man”, or “nobody” (Latin).

Critics have worked to understand both the function of this character—who arrives and departs in one speech—and his relationship to Judge Nemo, who appears in the final scene of the play (see Introduction). The name may simply indicate that no one in the upper classes or the judiciary matters. The only thing that matters is trade that increases wealth in the middle classes.

cankered

Festering, spiteful.

—

Daryl Palmer writes in What We Talk about When We Talk about Hospitality that the classical term for this moment is anacoluthon, a breaking off of thought that usually implies some sort of interior recognition (7). In noting the failure of this moment, in which a nobody (i.e., Nemo) provides no sign of interior recognition, Palmer asks: Is he Wilson perhaps hinting that Hospitality seems so feeble because his contemporaries like Nemo have lost the capacity to think about him? (7). See Palmer’s essay for an analysis of Nemo in connection to early modern discourses of hospitality.

dismember

Remember (Simplicity makes a gruesome error).

apace

At once, immediately.

Wut do so mich?

Would you do so much?

Wut and mich are both variant spellings of would and much that are particular to the late sixteenth- and early seventeenth-century rustic speech.

Although Wilson does not always write in the rustic dialect, Simplicity was defined as a rustic from scene 2, and he is too foolish to think of using his pronunciation as a tool, despite his wheedling here.

speak fair

Speak respectfully, with courtesy.

’semble

Dissemble, assume an appearance, pretend (OED semble, v.2.3).

plaguey

Cursed, damnable, or excessive (this expression mirrors contemporary expressions like stinking rich and filthy rich).

See Steggle, The Monster in the Corner, which traces the play’s connections to discourses of plague.

Nor boots it

Nor does it remedy, or benefit.

that

That which.

Marry

By Mary (mild oath).

an he’ll … feed

If he has meat he needs eaten, he’ll see how I’ll feed.

As Kermode notes, eat in this line is pronounced et to indicate past tense. Simplicity is still bragging about his eating prowess, gesturing as above with two hands to show how he will grab food and stuff himself.

Exeunt ambo

They both leave the stage.

There must … stand

Mithal notes that this was indeed part of English land conveyance custom (125 n.785-8,791). Transferring possession of land in medieval England typically required the two parties to meet publically (before witnesses) on the land in question, and for the old owner to transfer a livery of seisin (usually a physical representation of the land, such as a clod of earth, but sometimes a ceremonial object) to the new owner (See Jones). Although the exchanging of symbolic objects became redundant over the sixteenth century, superseded by deeds and written records, an aspect of ceremony remains in Usury and Conscience’s exchange. According to Holdsworth, a historian of English common law, In addition to delivering possession the donor must leave or otherwise abjure the land. There can be no livery of seisin unless the land is left vacant (222). This part of the custom may also trace back to the thirteenth-century, in which the petty assize of novel disseisin gave tenants and others who believed themselves to have been dispossessed of lands without a fair hearing an opportunity to bring their claims before a royal court and have the matter speedily dealt with (See Biancalana). Novel disseisin fell out of use in the fifteenth-century, so it is unlikely that Usury is genuinely concerned about being brought to court by an occupant he might unknowingly dispossess. If he is thinking of novel disseisin, it might explain in part why he observes this part of the transfer ceremony, and why he refers to it as an old custom in 5. Usury’s emphasis on tradition and procedure emphasize that while what he is doing is unconscionable, it falls well within the bounds of ancient and contemporary law.

venture

Risk, dare, with a secondary meaning of take part in, invest in, a financial venture or speculation. rare (OED venture, v.III.7.c).

Hazlitt and Kermode retain Q1’s venter, which no longer has any verbal meaning, although Kermode connects the term to a person who utters or sells any idea of an erroneous, malicious, or objectionable nature; but that is not what Usury is doing here (Kermode 107 n.10). He is simply taking legal possession of a property on behalf of its owner, Lady Lucre. His dispossession of the ladies may be mean-spirited, but he is within the law.

abide

Endure, suffer.

not accounted … set by

Poorly esteemed or valued, a view accented by the moans of grief in the repeated Oh, […] Oh,.

practise … to beguile

Cheat even their best friends by diverting them with charm while defrauding them of their money or possessions.

overpressed

Over-burdened, oppressed.

stay

Support.

giving eviction notice

This stage direction is optional. Usury may be delivering a formal eviction notice when he says this, or he may be passing on a verbal message.

provide … of hand

Prepare some other house to live in immediately.

provide

Supply.

lesser

Smaller, cheaper.

stale jest

Unfunny hackneyed joke, out of date.

after forty … quarter

Usury is quadrupling the rent to forty pounds a year, so Conscience’s proposed ten pounds, the old rent, will buy only a quarter of the year (three months).

set it

Give it to you on these terms.

drift

Course of action, path.

Drift could refer to a person’s intentional course of action (OED drift, n.I.4.a), but also to things that have been driven against their will by more powerful forces, i.e. drifts of snow (OED drift, n.II.8.a) or drifts of wood carried by currents (OED drift, n.II.9). Conscience’s situation balances the two senses: she makes her own choice, but she has been driven to it by powerful forces.

to make … shift

To try to manage the difficult situation using few resources, to scrape by.

at a day

On an appointed day.

Usury does not specify which day, but Kermode suggests that Usury’s assumed cruelty would seem more likely to the interpretation ‘at a day’s lengthʼ, or ‘within a day from nowʼ (118 n.43). Mithal suggests that this means at the end of a quarter (126 n.834). Either or neither could be right. The OED says it means settled beforehand or fixed by agreement—so unless that paper (if there is one) that Usury gave to Conscience appointed a time for getting out, then she would leave at the end of her lease, or the paid portion of her lease (OED appointed, adj.1).

perforce

By necessity.

after threescore

More than sixty (pounds).

right sot

Real fool.

overseen

Mistaken, rash, deluded.

The term is unusual, in that it suggests that someone smarter than Usury has been observing him, alert to the moment when Usury can choose to lose money and have only himself to blame. In a sense, in modern idiom, he was seen through, and thus could be set up for rash action. Usury would like to blame Lady Conscience for this error, but cannot rationally.

be my trot

By my troth (i.e., I swear).

Mercadorus’s stage Italian accent replaces many “th” sounds with “t” sounds.

scall shurl

Scabby churl—disparaging insult for a low-born, rude person who suffers from unsightly skin diseases.

if myself … beguile

If I am not fooling myself.

And for … trifles

And for that (in exchange for outgoing trade) I shall have for gentlewomen expensive but essentially worthless objects for them to buy.

As quoted in Tilley and others, this proverb about women’s taste in exotic items was commonplace: Far fet and deere bought are good for Ladyes (Tilley 138 n.D12).

stranger

Foreigner.

Flemings

The Flemish, natives of Flanders, an area that is today part of Belgium but in early modern England was associated with the Netherlands.

make shift … one

Fit ten households (or families) into one house.

English authorities were anxious about foreigners spreading plague in London (Steggle 4). Steggle writes that for the Lord Mayor of London, Nicholas Woodroffe, foreigners were a major cause of plague, and that (quoting from a 1580 letter), foreigners were responsible both naturarly in spreding the infection and otherwise in drawing Gods wrath and plage vpon vs (Chambers and Greg qtd. in Steggle 4). The threat foreigners posed, according to Woodroffe, was their (perceived) lack of church membership, their competition with English craftsmen, and their erecting of smale tenements and turning of great howses into smale habitations within the liberties of London (Chambers and Greg qtd. in Steggle 4). See Steggle’s article for more information on English connections between overcrowding, immigration, and contagion.

twenty mark

An English mark was worth two-thirds of a pound (13s. 4d.). 20 marks equals around 13 pounds and 6 shillings. Newcomers, Mercadorus confirms, will pay nearly four times what English tenants will pay, as Usury asserted earlier in the scene.

Bristol, … Canterbury

Bristol was the major port in the west, Norwich in the east, Northampton in the midlands, and Chester in the west; like Canterbury in the south-east, they were largely on routes of important progresses of state or trade. Lucre’s list demonstrates how expansive her holdings are, across the north, west, and east of England. In this context, Lucre’s list reminds us that while immigration in Elizabethan England is usually associated with London, communities across England received an influx of newcomers (many of whom were Protestants fleeing turbulence and persecution, or seeking economic opportunity). For an analysis of immigrant communities in Norwich (then the second-largest city in England), Canterbury, and communities in the West Country, see chapter two of Oldenburg, Alien Albion. The conditions that drive up rents in London (thereby enriching Lucre and Usury) are acute, but not limited to the capital.

West Chester

Chester, located in north-west England near the Welsh border on the River Dee, is an almost perfectly preserved walled city, founded by Romans as a fort in 79 AD and becoming a city in 1545, famous for its Chester Rows, two-level medieval shopping streets with covered walkways; the whole ares now (4 blocks) is pedestrianized. Wilson refers to it as Westchester, possibly West Chester, identifying it as in the western part of England in Cheshire county, but the city’s formal name was always Chester. The closest major city is Liverpool.

Dover, … Plymouth

These communities are all located south of London, mainly along the coast, and hosted many communities of immigrants in the sixteenth century.

strangers

Foreigners.

Moors

Peoples of northern Africa. Moor was an unstable racial and religious signifier in early modern England.

The lack of distinction between peoples of the Ottoman empire, peoples of northern Africa, and peoples of other African regions extended not just to early modern thinkers and writers but (until very recently) to modern historians exploring representations of black Africans in English contexts. As Nabil Matar writes in Turks, Moors, and Englishmen in the Age of Discovery, Although it is always difficult to identify exactly the signification of ethnic and national terms in Renaissance writings, the conflation of North Africans with sub-Saharans is misleading because England's relations with sub-Saharan Africans were relations of power, domination, and slavery, while relations with the Muslims of North Africa and the Levant were of anxious equality and grudging emulation (7–8). For more information on the power structures that underlie the trade Lucre proposes, see Matar’s work.

Barbary

Countries along the north coast of Africa.

The Barbary States were noted for their sophisticated population of Arabs and Jews with major universities as well as trade routes and pirates. See Davis, Trickster Travels.

Turkey

The Ottoman Empire (which in the sixteenth century controlled not just the lands of modern day Turkey, but lands in eastern Europe, northern Africa, and the Middle East).

As Fatima Farida Ebrahim notes, the play coincides with important developments in Anglo-Ottoman trade relations. The regions Lucre sends Mercadorus to were controlled by the Turkey Company, which received a royal patent in 1581 granting it exclusive rights to trade with the Ottoman Empire, and, by 1585, the Barbary Company, which had a monopoly on Moroccan trade. Royally-chartered joint-stock companies like the Levant Company were increasingly the norm in Elizabethan foreign trade, and so by sending Mercadorus to these places in 1584 and 1592 (years the play makes clear through reference to the end of Queen Mary I’s reign), she is either presuming royal prerogative in commanding Mercadorus to trade there, or is encouraging Mercadorus to circumvent the company’s monopoly by whatever shady means necessary (see Lucre’s confidence in English smugglers on lines 3). There are signs beyond the play that these trading monopolies were hard to enforce. A royal proclamation of 1615 from the anti-Ottoman King James I, for instance, specifically and publically reminds the people of England that the crown prohibits the bringing in of any Commodities traded from the LEVANT, into this Kingdome; aswell by Subjects as Strangers, not free of that Company; Also conteyning a publication of certaine Statutes, for the restraint of all His Maiesties Subiects, from Shipping any Commodities in Strangers Bottomes, either into this Kingdome, or out of the same (Larkin and Hughes 148). The 1592 merger of the Turkey Company and the Venice Company to form the Levant Company makes The Three Ladies of London a timely play to revisit for audiences concerned about impacts of foreign trade and new financial arrangements on England’s economy. For context on the ways England responds to a complex, shifting trade relationship with the Ottoman Empire, see Vitkus, Foreign Parasites, English Usurers, and Economic Crisis and Ebrahim, Baubles for Bell-Metal.

wantons

Self-indulgent, undisciplined, lustful people.

me strangers

Mercadorus’s stage accent muddles his meaning here. As Kermode notes, he could be using ‘meʼ for ‘myʼ or to indicate the sense of ‘strangers like meʼ (121 n.96). He could alternatively be referring to his foreign suppliers as my strangers, suggesting that the suppliers themselves are laughing at the joys (possibly sexual, possibly just frivolous) that English gentlewomen take in their merchandise.

A vostro commandamento

At your command (in Italian).

priest

Q2 uses priest instead of the Anglican term parson present in Q1. The uncertainty of Pleaseman’s title here echoes his later ambiguity about his faith. Kermode notes that this change from parson to priest might indicate a deliberate change in a post-Armada, anti-Catholic environment (121 n.0.1). Peter Pleaseman’s costume could be designed to signal his crypto-Catholicism and further align him with Simony.

This same … Cracko

These names may indicate origins: Presco may be Italian (prescio) as one who is accurate, or precise (puritanical) in his thinking; and Cracko may be dismissive as one from Krakow (Cracow), then the capital of Poland, a Roman Catholic state. Prescio’s refusal to accept simony as a valid church process clearly marks him as a Protestant thinker, wanting more church reform in England.

Kermode suggests that these names indicate perhaps prescient and crack-brained characters, since the former rejects Simony and the latter praises him (121 n.3). Presco might also derive from prescript, meaning law, ordinance, or rule. In this sense, Presco might mean either rule follower, or a rule-changer, which fits the character’s rejection of Simony. Cracko might also refer to cracked in the sense of impaired or unsound in constitution, moral character, reputation (OED cracked, adj.4), with connotations similar to crooked (OED crooked, adj.3.a).

sir

As Kermode notes, sir here is a title for ordinary priests (esp. ones who do not hold university degrees, who would be addressed as Master (OED sir, n.I.4)). Sir applies to Peter Pleaseman for the same reason, presumably, in line 6.14.

fell out

Quarrelled.

homo is indifferent

In Latin the word homo is not gendered (thus the “man” in Pleaseman is a universal term not gendered to exclude women).

Anti-Catholic Elizabethan writers often accused the Catholic clergy of rampant sexual conduct that contravened their vows of celibacy. While a Catholic priest should not be pleasing men or women in a sexual sense, Pleaseman, who is technically an Anglican cleric, can marry and please a wife. In his reply here, Pleaseman either rejects/misses Simony’s bawdy talk by sticking primly to Latin grammar, or uses Latin grammar to suggest a bawdy pansexual indifference when it comes to whom he will please. As the conversation continues, Pleaseman will reveal he is indifferent to many other things the audience might expect him to have a preference about. This joke will inevitably sound different to a modern audience for whom the word homo will call to mind sexual identity rather than Latin grammar, but the term homosexual dates from the twentieth century, and the language of same-sex attraction in Elizabethan England was slightly different. The joke does suggest, insofar as please becomes sexual in Simony’s question, that Pleaseman is comfortable with sodomy (which, in early modern Europe, constituted a range of non-procreative sexual acts performed for pleasure between same-sex partners and opposite-sex partners). Associating Peter Pleaseman with sodomy would have linked him, in the minds of an Elizabethan audience, to the corruption and vice of the Catholic Church. But the Catholic Church was also rumoured to be a hot bed of extramarital heterosexual scandal, so Simony’s joke does not necessarily have to be homophobic to work for an Elizabethan audience as bawdy anti-Catholic satire. From Simony’s perspective, though, the question is likely testing Pleaseman’s heterosexual virility.

college

Since Pleaseman denies that he has been to university, he might mean a monastic type of community of the kind dissolved during the Protestant reformation (a community or corporation of clergy living together on a foundation for religious service (OED college, n.3)), or he might simply mean The building or set of buildings occupied by a society or institution within a university or clerical residence (OED college, n.5). Sincerity, by contrast, comes from Oxford and studied divinity at Cambridge.

studied … of divinity

Earned two or three qualifications, or held two or three positions as a parish parson.

wot

Know.

marckle

Simplicity’s mispronunciation of miracle.

undoed

Undid, ruined.

Simplicity’s mistake for undid is not a variant or regional form of the verb in the sixteenth century.

boniacion and sore

Charmingly but persistently; severely, grievously, oppressively (OED sore, adv.6.a). See text and note at 2.

gotten the baker’s ’vantage

Taken advantage (the way bakers were reputed to cheat their clients by selling underweight loaves of bread or skimping on quality ingredients).

Semblation

Twisted version of Dissimulation: Simulation (deceitful pretence), Pretension (an excuse, a pretext) (OED pretension, n.1.2).

nigh

Near.

sir-reverence

Sir-reverence has two recorded meanings in the OED, neither one of which exactly preclude each other. Sir-reverence—a shortened form of save reverence—most commonly meant with all due respect or with apologies in contexts where one reluctantly offends, but Simplicity here offends brashly. In this context, it ironically calls attention to how sorry-not-sorry he is to be calling Dissimulation’s honesty out as you would call a dog to return to its owner. In the 1590s, however, sir-reverence, perhaps because of its affected politeness, became a slang term for a piece or lump of this, and, in that vein, for human excrement (OED sir-reverence, n.1.a., 2.a., 2.b.).

in gage

As a security deposit, as collateral.

prating

Tedious preaching.

beceit

Simplicity’s alliterative mistake for deceit.

bag pudding

Sausage. See note at4

pudding pie

A dough pudding containing meat and baked in a dish (OED pudding pie, n.).

parliament

Perhaps meaning to say apparelment or formal clothing such as a decorated, official cloak or gown with decorations including cloth of gold, pearl borders, taffeta, and satin lining in the hood (OED parliament, n2).

This use of the word is related to parament, a robe decorated with silk or silver embroidery, used on official occasions; but appears as parliament and parlament in a handful of sixteenth-century contexts.

Mithal adds that Simplicity is using the word ironically for the plain gowns of Love and Conscience, which he is going to pawn with Usury (127 n.984). We cannot know, however that the gowns are plain and more likely may be the last of the ladies’ fine clothing from when they were solidly upheld and praised as virtues. Simplicity is pawning the clothes for profit, but they would not be worth a quarter rent if they were neither finely embroidered nor well made from good cloth like velvet, taffeta, or soft wool.

Suck-swill

Indiscriminate drinker of slop and scraps (piglike).

ducats

Gold coins strongly associated with Venice, worth about 6 2/3 shillings (see a list of Elizabethan coins and their values at Internet Shakespeare Editions (Best, Coins and Money).

Duck eggs?

Ducats (Simplicity fools on the words, both because he is a clown, and because he is simple).

this

Simplicity likely gestures to his basket, but he could gesture to any large receptacle he can find or make (a hat, a shirt, a pocket, his own stomach, etc.).

Tush

An exclamation of contempt (OED tush, int).

Mass

By the mass.

plaguey

Stinking.

apaid

Satisfied, rewarded.

befriend

Assist, favour.

Conscience

In both quartos, Conscience is capitalized in this line as a proper noun while honesty is not.

conspatch my arrant

Nonsense for dispatch my errand.

Although Simplicity garbles his meaning here, his errors signal the conflict that underpins this scene: the arrant or thieving vices are coming together to weaken Love and Conscience. He certainly doesn’t intend to implicate himself here (they are Lucre’s notorious vices, not his) and yet he is incapable of defending either virtue from assault. Even he intends to rob the ladies by using some of the gold to eat a good dinner.

bought … town

Priced entirely out of London (by steepening rents).

Oh, what … death,

Hospitality is so terrified that he seems to gabble; there are too many feet in the line, but an actor speaking quickly can squeeze the words into six feet. But this play has considerable variation in verse lines, and does not concern itself with rigid iambic pentameter.

But out, alas

An exclamation of grief, a moan or howl; a sound rather than a word.

frank

Free, generous with money, sincere (OED frank, adj.2.a).

hold

Wager.

groat

Coin worth 4 pence (OED groat, n.2.a).

apace

Swiftly, immediately, with the intention of giving aid.

dearly … good member

To your extreme cost (that is, hanging), respond in a court of law for the murder of Hospitality, that respected upholder of civil society.

Refrain me … answering

Mocking by repetition of Conscience’s words: don’t try to stop me with calls for stopping me (from killing him), nor threaten me with threats that courts will hold me responsible. Essentially, don’t talk back.

Usury plays on the multiple meanings of refrain and answer here in his curt response. Refrain most often means to hold back, to restrain, or forbear (OED refrain, v.1.a) but it can also mean “to sing a chorus” (OED refrain, n.3). Usury’s response suggests that Hospitality’s excessively-long, pleading line above is repetitive and useless in begging Usury to forbear killing Hospitality. To answer often means to respond verbally or answer back in opposition, but Usury also picks up on Conscience’s threat in the previous line that he shall dearly answer, or be held responsible and punished, for murder (either in a court or in heaven). Her answering (speaking on Hospitality’s behalf) does nothing to make him feel answerable for the crime he plans to commit. In the line below, Usury will play on a third meaning of answer, where it means to satisfy or resolve a debt.

The matter … thing

The issue is resolved effectively either (a) in showing the means of death, a dagger; or (b) demonstrating the uselessness of this out-of-date Hospitality, who quivers in fear at Usury’s threats.

Either is possible, but Wilson might have been clearer by giving a stage direction, something he frequently makes use of. The demonstrative this can work as stage business whether he points at a material object like a dagger, a pistol, or a rope; or seizes the man by the neck and shakes him like a dog with a rat.

in respect of myself

In comparison with myself.

dress

prepare (food) for cooking or eating; also, To cut up or divide (an animal or its meat) for food in the manner of a butcher (OED dress v.ii.4.a; v.ii.20.a).

elf

A small animal or child. See OED elf n.2.a.i; n.2.a.ii.

dress … elf

(a) A kitchen expression meaning prepare you for slaughter and either selling or cooking you like a small animal (indicating the small size of shrunken Hospitality as played by a boy-actor); or (b) physical aggression to inspire fear leading to death: thrash you as though a demon were beating you into hell. In the first version, the weapon is a knife; in the second, it is a rope used as a whip.

Mithal argues that dress constitutes a violent threat, which makes sense in the context of the line and in the OED sense: treat (a person) ‘properlyʼ, esp. (in ironical use) with deserved severity; hence, give a thrashing or beating to (OED dress, v.9). Even if dress were used in the kitchen sense, it would still be a violent threat to a human. Editors also agree that elf in this context means demon, and commonly elf and fairy were considered demonic and malignant, with no difference between the two, despite the post-seventeenth-century revision of fairy-tales. But elf may be a rustic word, cutting off kelf (Middle English), from which the modern English calf derives. The first example OED lists for elf, from Thomas Tusser’s 1573 edition of Five Hundred Points of Good Husbandry, uses elves as part of the December instruction to loke to thy cattle. Serue yonge, poore elues alone by themselues (G2v).

mollify

Soften.

smart

Sharp, intense pain caused by a wound (OED smart, n.1.1.a).

hale

Haul, drag.

drudge

Lowest of household servants who does all the vile work.

hastily

Urgently.

The repetition of this word from the SD on the previous line suggests that one or the other is the wrong word. In the SD, hastily = quickly works well; Hazlitt changed the word in next line to lustily in order to avoid the repetition (Hazlitt 318), but because audiences do not hear an SD, the change is not necessary, although a reader might note the recurring word as an oddity.

churl

Peasant, lowborn person (insult).

a good … head

A good disposition (as in the modern expression doesn’t have an evil bone in his body, the qualities of someone’s teeth idiomatically reflect that person’s character).

cheer

Entertainment, food, hospitality.

bag-puddings

Sausages (See 4).

If, in both instances.

churl

Stingy or niggardly miser.

In Q1 and Q2, the word was churdle, with the “d” added to rhyme with world on the next line. But an actor can achieve the same effect with churl and worl’ dropping the “d” on world. Adding a “d” to churl makes no grammatical sense, although as a verb to churl and its past tense churled conveyed the sense of miserly behavior. But to use the verb as an adjective wouldn’t solve the essential grammatical problem, or it would make the line harder to follow: the old churled— with a dash representing Simplicity’s wordless horror at Hospitality’s meanness.

with Simony

Simony has to enter with Lucre (a) because no entrance for him is in the text; (b) because Lucre sends him on an errand at 8; and (c) because, as Kermode notes, Simony told Peter Pleaseman that he would intervene with Lucre to find Pleaseman a living.

pulled

Plucked, with the sense of rendered naked.

Conscience lost her fine feathers when she had to sell her last gown. She is probably wearing only a smock, the equivalent to being naked in early modern terms. Women wore linen smocks as underwear, to preserve the outer clothing.

honesty

Chastity.

three … hill

Gallows.

Kermode adds that there is also a nod toward the three ‘treesʼ or crosses of Golgotha and the death of Christ, the champion of Hospitality (129 n.59). Although Simplicity gives his facts out of order (Hospitality died and then made his will?) Hospitality sees Usury and Dissimulation as the two thieves crucified on either side of Jesus.

hie you

Go speedily.

will

Compel.

know

Recognize, acknowledge.

command … my hand

Demand on Lucre’s authority three times the favor in return.

Trudge, … thou stand?

Depart … are you still standing here?

Go sets off a series of synonyms that become progressively hostile.

audio et taceo

I hear, or understand, and say nothing, if we assume audio is the intended word, and the printer made an error. The audience would probably not hear this mistake. But the text says audeo et taceo, I dare and am silent. That provides a vital choice for the actor playing Conscience.

Conscience’s translation of the Latin motto as I see, and say nothing is curious. Audeo translates in most early modern English-Latin dictionaries to “dare” or “presume” or “take a risk” (see LEME for multiple examples throughout the sixteenth century). The mistranslation does however make a direct reference to one of Queen Elizabeth I’s mottos, video et taceo, which means “I see, and say nothing” or, to use alternate translations of video and taceo from early modern English-Latin dictionaries, I perceive and keep silent or I consider and hold my peace (see LEME for multiple examples). Mary Thomas Crane argues in Video et Taceo: Elizabeth I and the Rhetoric of Counsel that this particular motto of Elizabeth’s reveals the queen’s delicate balancing act between assertion and abnegation of authority (2). In Crane’s translation, The first half of the motto, video, implies silent judgment, the informed consideration of a person who must, and can, advise herself. The choice of video rather than audio indicates that she intends to make up her own mind on the basis of observation rather than to accept blindly her advisors’ spoken counsel (2). Crane reads taceo as Elizabeth’s signal that as a woman she would perform a culturally-prescribed silence: she might listen to the counsel of others, but not necessarily follow it. In this moment, the play links the reigning queen to Conscience, but drastically undermines her power and her will to prevent the newly arrived vices of modern London from killing off the country’s ancient virtues.

apaid

Satisfied.

in good earnest

With serious intentions.

bona fide

In good faith, sincerely.

petitions

Requests to employ Lady Love.

lies close

Remains concealed; is hidden or lying low nearby (OED lie, v.1.I.4.a).

followed him

Accompanied the body to the grave.

Early modern burials did not include a casket, except for transportation purposes. Bodies were wrapped in shrouds, tied at head and foot, and carried on a bier (a litter or stretcher) to the gravesite. For most common people, a grave was a temporary site: bodies were buried for a few years, then dug up and the bones put in a Charnel House. This was an efficient use of land and materials, and amounts to what we would now call a green burial.

gracious

Attractive appearance, elegant, tasteful in social terms; in religious terms, full of God’s grace.

Collier’s emendation, graziers—farmers who keep grazing animals—provides a doublet for wealthy farmers who may keep animals, but also grow crops, whether to feed stock or sell at market (Collier 241 n.205.1.13.).

fact

Crime, evil deed (OED fact, n.I.2).

I have … breeches

I have a strong feeling (more literally: I feel it in my privates).

This is not a common saying, but breeches, which are short trousers that go to the knee or just below, suggests that it is information Simplicity holds close. Mithal suggests that Simplicity means he has sure and private knowledge of it (128 n.1133). Walker suggests the expression means I know it instinctively (equivalent of ‘I feel it in my waterʼ) (440 n.100). There are ample opportunities for bawdy humour in this line given Simplicity’s marriage proposal at 2. Given that in the sixteenth century breeches are key rhetorical signal of sex difference and male dominance (wives who dominated were said to wear the breeches), Simplicity is also clownishly asserting a masculine power in a situation where everyone on stage outranks him in importance.

cog, … swear

Feign, deceive, cheat, and either blaspheme, or make promises he doesn’t intend to keep (all are more or less synonymous).

abed

In bed.

To … good say

I can give a good assay, or trial of that kind of lying (punning on lying abed in the previous line). Simplicity’s joke does not go over well with Dissimulation, the prospective employer.

Q1’s living does not pun directly, but includes both sleeping in bed and eating all day, his favorite pastimes (8 and 8).

How say you, sirrah

Simplicity is dangerously overfamiliar here in presuming to call any of the characters on stage sirrah, a term of address used to workmen or boys, expressing contempt, reprimand, or assumption of authority on the part of the speaker (OED sirrah, n.1.a). As Kermode notes, Simplicity is either being impertinent towards the characters on stage (which is in keeping with his character’s lack of decorum), or his clowning speech has been addressed to the audience and he is addressing an audience member as sirrah. Since sirrah implies that he’s speaking to a man, it seems most likely that he is no longer talking about being in service to Lucre and is offering to be a drudge to this same informal you in the rest of the line. He may also be offering his service directly to Dissimulation, whom he calls Sirrah when he next speaks at 8. His entire speech goes unacknowledged by the other characters, though, which means that it could also be played as an aside to the audience where Simplicity tries to get out of his service to the ladies before they are overpowered by vice.

I’ll be drudge by you

I’ll be your drudge at your home (I’ll perform your menial, distasteful household work).

After getting no response from Sirrah Dissimulation, Simplicity may address this line to Lucre, although he has already expressed distaste for her employment because the work is too hard and he’d have to lie and cheat, activities he might have trouble remembering.

little mouse

Term of affection, here, as Kermode suggests, ironic or patronizing (131 n.108); also, a term used for children or wives, not adult servants.

stout

Proud, unyielding.

puling

Whining.

availeth it

Advantage is it to, making a clear reference to Matt. 16.26.

withal

At the same time, altogether.

bookish

Overly studious, naively acquainted with the world through books alone and not experience; that is, moralistic and unrealistic.

cold … bequeath ye

In Ulpian Fulwell’s Like Will to Like (1568), the ground refers to the right to beg throughout the country (Kermode 131 n.119).

a school

Either Conscience should become a schoolmistress; or should keep a-school, stay in school, because, as she says next, scholars are often fools who have a lot still to learn about the way the world works (Kermode 131 n.120).

clerk

Scholar.

brave

Finely-dressed (OED brave, adj.2).

knave

Male servant, rogue, villain.

Knave is a term of abuse, and, like sirrah, a term applied to an inferior. Simplicity calls Fraud and Dissimulation a couple of false knaves together when he recognizes them in scene 2, associating them with cheating and knaves or jacks in a deck of cards.

keep to thyself

Speak for yourself, or more likely a threat, keep that to yourself.

ass-headed elf

Blockhead; a good forecast of Bottom’s donkey-head in Shakespeare’s A Midsummer Night’s Dream.

Pack!

Leave!: Take yourself off with your belongings, esp. when summarily dismissed (OED pack, v.1.II.11.a). Dissimulation is terminating Simplicity’s service to Love.

Hence!

Depart!

Jack Drum’s entertainment

Early modern phrase implying an unwelcoming or hostile reception or the act of forcibly driving someone away (OED drum, n.1.P.3).

Dissimulation is giving Simplicity Jack Drum’s entertainment by terminating his service with Love, which makes Simplicity think that Love will reject him herself if he doesn’t depart at once. As Kermode notes, Jack Drum’s Entertainment is the title of a 1600 John Marston play (pub. 1601) about the folly of being in love, but not such folly as loving money instead (Kermode 132 n.127).

is as

Is like when.

to change … louse

To treat a man as if he were worthless, by refusing him even the smallest of services; i.e., no one answered the door.

nay, who there?

Wait, are you still calling yourself Lady?

Simplicity interrupts his train of thought to question how poorly the name Lady Conscience fits the woman as she is now.

array

Attire.

Q1’s beray means “befoul” (with dirt, filth, ordure) (OED brave, v.1.a), Simplicity’s error for array. Q2 apparently decided to cut this crude suggestion.

I cannot do withal

I cannot help it.

victuals

food

Although Conscience speaks of her fall in status, power, and wealth (a fall the play has been setting up for many scenes), Simplicity thinks only of the phrase to fall to (food) (OED fall, v.67.e), meaning to begin eating.

The deceit … ostler

The tricks used by the hired stableman at an inn, such as greasing the horses’ teeth so they won’t eat, thus saving the cost of provisions. See King Lear 7.273-4: ’Twas her brother that in pure kindness to his horse buttered his hay.

polling of the tapster

Tricks pulled by the bartender, such as frothing the ale.

tanner

One whose occupation is to tan hides or to convert them into leather by tanning (OED tanner, n.1.1).

cozening

Cheating.

light bread

Bread that is underweight for its price.

In 13th century, bread prices (along with ale prices) were regulated by weight so that each loaf should contain roughly the same amount of grain. Bakers attempted to circumvent these rules in a variety of ways (see baker’s ’vantage at 7). For more information on the Assizes of Bread and Beer, see the Medieval Sourcebook.

very evil working

Lazy or incompetent kneading (which would result in the light bread).

chandler’s

Shopkeeper’s.

A chandler was usually a maker, seller, or supplier of candles (OED chandler, n.1.2.a). Here though, by reference to weights and measures, Conscience is using the title in the extended sense to mean a retail dealer in provisions, groceries, etc.: often somewhat contemptuous (OED chandler, n.1.3.3.a). The OED’s 1583 example of this extended sense, from Philip Stubbes’ The Second Part of the Anatomie of Abuses, lists the mix of goods a chandler sells: almost all things, as namelie butter, cheese, fagots, pots, pannes, candles, and a thousand other trinkets besides (Stubbes G7r-G7v qtd. in OED chandler, n.1.3.3.a).

halfpenny

A penny was worth four farthings in total, so charging a halfpenny (two farthings) for something that costs a farthing is a doubling in price.

with … poor unthrifts

With a large gathering (resort as collective noun) of poor prodigals or wastrels.

a shilling … home

A 12 pence coin in gambling than a 4 pence coin at home.

sell broom

Mithal points out that the play’s concept of Conscience as a broom seller carried over into other publications (133 n.1287-1300). In Thomas Deloney’s prose narrative Jack of Newbury (1596), in a weaver’s song, weavers sing nostalgically about a time when their wool trade flourished, when conscience went not selling broom. / Then love and friendship did agree / To keep the band of amity (Deloney 70). The song likewise defines this as a time when men to lucre did not yield. The weavers’ song is available in full in the appendix. In Robert Greene’s 1592 satirical pamphlet A Quip for An Upstart Courtier, which fuelled the Harvey-Nashe quarrel, the image of Conscience selling brooms functions identically to harken back to a lost, idealized social order. After attacking a corrupt obsession with fashion and appearances and lamenting a decline in craftsmanship (themes touched on in Wilson’s Three Ladies), Greene writes for when veluet was worne but in kinges caps, then conscience was not a brome man in Kent street but a Courtier, then the farmer was content his sonne should hold the plough, and liue as he had done before: Beggars then feared to aspire, and the higher sort scorned to envy (C1r). Collier—a nineteenth-century editor of both Three Ladies and A Quip for Upstart Courtiers—asserts that Greene plagiarized a great deal of his pamphlet from Francis Thynne’s 1580s poem A Debate Between Pride and Lowliness. The passages regarding Conscience as a broom-seller do not appear in Thynne, meaning that Greene was likely picking up on the socially conservative nostalgia of The Three Ladies of London which pre-exists the play, and pressing its image of Conscience brought low into his own 1592 arguments (though the gendering of Conscience does call for some scepticism about whether Greene is alluding to Wilson’s scene in particular or whether the image of Conscience abased to broom selling wasn’t a broader 1590s concept than we have been able to track through surviving textual sources).

keep myself … begging

Conscience will become a street vendor to avoid running afoul of the harsh Elizabethan vagrancy laws that regulated begging. The line between criminal vagrancy and legal placement (place as defined by housing and formal employment) was tenuous, especially for early modern women. As Patricia Fumerton has demonstrated, working women’s freedom of movement and casual investment in unsupervised labor rendered their work suspect and women who occasionally left the confines of the home and took to the streets were especially vulnerable" to prosecution as beggars or sex workers (24). Poor, unmarried women who were neither apprenticed nor in service were often labeled vagrants, even if they were housed and working (Fumerton 23–4). To be labelled a vagrant or beggar made a person vulnerable to prosecution by officials, as if they were just such idle tramps: they might be driven out of town or, more likely, incarcerated in a bridewell, put to supervised work, and instructed to find service, apprenticeship, or, in the case of women, a husband (Fumerton 16). So although Conscience retains her house at great cost to her, and finds work for herself that is honest, she like many other working poor London women is putting herself at risk of prosecution and punishment by working in the street. The stakes, should she be prosecuted as a vagrant, are high, even though in the economic downturn of the 1590s an increasing number of people found themselves regularly on the edge of vagrancy, as Conscience does.

cozen me … shoon

Deceive me too often with their old shoes; competually is a clownish fusion of continually and perpetually (Mithal 130 n.1198).

Simplicity lacks confidence in his ability to make good trades for his wares (or possibly lacks confidence in his ability to remain focused on economics when trading with unmarried women). As Walker points out, Conscience in scene 10 establishes that broom-sellers often part-exchanged their wares for old shoes and other goods (see [10] for corresponding lines in this edition)(Walker 442 n.156).

Will

A character named Wily Will appears in scene 13 as part of a trio of beggars that include Simplicity, but this is likely a different Will since Wily Will and Simplicity do not seem to know each other well. Will here might be an allegorical reference to the virtue of willpower that we do not meet in the play.

when my … alive

Simplicity mentions his father Plain-Dealing, the miller, who died of sorry when Usury bankrupted him, at line [2].

[Asking audience]

Since Simplicity is alone on stage, any or all of this speech might be directed at the audience, but here the you think cannot refer indirectly to Conscience so the intended audience interaction is clear.

god Pan … buttery

Pan is the Greek god of herds and flocks, not kitchens, but when paired with Pot, both sound like kitchen implements, and thus gods of food preparation that a food-obsessed Simplicity would pray to.

resist me, … meliosity

Simplicity’s usual poor word choice in these lines devolves into nonsense, so it is difficult to pinpoint logically what he might be thinking or trying to say. Simplicity’s request that his gods of kitchen and buttery resist him, for instance, seems illogical given that his goals are to beg for food and drink. Kermode suggests that he mistakes the word resist for assist, and that he is calling on their help (134 n.163). Meliosity might be aiming for the word mellifluous, which means sweet as honey. Sweet singing, assisted by the gods of Pan and Pot, might reasonably enhance Simplicity’s prospects as a beggar. Mithal suggests also mellisonnance, melliloquence, or melody (131 n.1210). Meliosity might also play on the latin word contumeliosus , however, which means reproachful and insulting. When paired with resist me, the line might be closer to a twisted opposite of what he should logically intend to say: it might mean resist my attempts to beg so that I can sing more reproachfully. Rather than provide a clear invocation for success, the line reinforces that Simplicity is confused and perhaps not up to fending for himself alone. It also, perhaps, serves to set audience mouths agape in confusion so that the actor playing Simplicity can find an open-mouthed target in the audience to heckle in lines [8].

cauled

Lucky.

To be born with a caul (a membrane that covers the head of a child at birth) was considered a good omen (OED caul, n. 1.5.b). Cauls were believed to prevent drowning, and, as Roberts accuses in A Treatise of Witchcraft in 1616, midwives sold cauls to lawyers to enhance their eloquence (66). Caul was also a synonym for a close fitting cap, worn by women (OED caul, n.1.1.a) and a word for cabbage, though, so not all audience-associations with this word will be positive and self-promoting for Simplicity.

yonder is a fellow

Simplicity is heckling an open-mouthed audience member from lines [8].

strait together

Tightly closed.

biding

Dwelling, residing.

The country … peer

Collier posits that this line was borrowed from an existing ballad licensed in the Stationer’s Register. On 4th September 1565, he writes, William Pickering had a license to print, among other ballads, one called The Countrye hath no peere,, which may have been this very song, of which, we may presume, Simplicity only sings one stanza (241).

Gerontus, a Jew

See Hirsch, Much Ado about Gerontus for an analysis of what this stage direction might mean in terms of Gerontus’s costume in early modern productions.

forgo

Leave, forsake (to elude repaying his debt).

ducats

Gold coins of varying value, associated with Europe and Venice in particular [see 7].

break your day

Break your repayment contract by not paying by the due date, and thus lose whatever bond you posted as insurance.

Turkey

Jewish communities faced intense legal, social, and physical persecution in medieval Europe, and Jewish refugees fleeing expulsion and violence resettled by the hundreds of thousands in the Ottoman empire. In the fifteenth and sixteenth centuries, Jewish culture thrived in the Ottoman empire, which denied public office to non-Muslims but practiced hospitality and religious toleration for its multicultural population. For a history of Jewish life in the Ottoman empire, see Levy, The Jews of the Ottoman Empire and Shmuelevitz, The Jews of the Ottoman Empire in the Late Fifteenth and the Sixteenth Centuries. For an analysis of the play’s Turkish setting in particular, see Martin, Religious Tolerance in Wilson and Marlowe; Ebrahim, Baubles for Bell-Metal; and Ingram, Turks, Trade, and Turning. See also Hirsch, Much Ado About Gerontus, which proposes Nicolas de Nicolay’s travel narrative as a possible source for the play’s portrayal of Jews within the Ottoman empire (see relevant passages from Nicolay in the appendix).

bear-a

Bear with.

knacks

Trinkets, knick-knacks.

out of hand

Immediately.

tarrying

In Shakespeare’s The Merchant of Venice, Portia twice says Tarry to the Jew, Shylock, at moments that constitute a major pivot in Shylock’s fate. See the trial scene, when Portia entraps Shylock by granting his case, except for no jot of blood (MV 4.1.299), and when she accuses him of attempted murder of a citizen of Venice (MV 4.1.339). Jews remained foreigners, although they lived in the city (the Ghetto) and did business on the Rialto.

You pleasure-a … dereby

You indulge me, sir, [by knowing] what I mean thereby.

Mercadorus is likely insinuating that English gentlewomen’s fantasies are lewd, and that the merchandise they buy is to satisfy their sexual needs. The word fantasy does not necessarily have sexual connotations in early modern England (fantasy often means simply imagination) but Gerontus’s mention of green headed wantons adds context to Mercadorus’s hint at (see 9).

smaragdines

Emerald-green gemstones (from smaragdite).

jacinths

A reddish orange gem, a variety of zircon, also applied to varieties of topaz and garnet (OED n. 1.a).

agates

Stones variegated in colour and used for carving, jewellery, decorative work (OED agate, n.2).

turquoise

Blue stone then called turkasir, showing its roots in the gem’s Ottoman trade history.

As Arash Khazeni writes, Turquoise evolved into an object of imperial interaction and exchange among the empires of early modern Islamic Eurasia. By the sixteenth century, as it traveled from Nishapur a central turquoise mine in Iran through the blue-tiled cities of the eastern Islamic world and farther, to Venice, Paris, and other European markets, it was coveted as a strange and exotic object from the East. Becoming associated with the Turks and the trade roots that carried the gem across the Ottoman Empire to Europe, the stone was called pietre turchese in Italian and in French pierre turquoise, or Turkish stone (3).

precious stones

For an analysis of the early modern connection between Jewish merchants and precious stones, see Hopkins, Gerontus and Early Modern Dramatic Representations of Jews. As Hopkins notes, Gerontus’s list of jewels is a likely source for the opening speech by Barabas in Christopher Marlowe’s The Jew of Malta (1.1.25–37). She writes that Barabas’s expanded list focuses not only on the monetary value of the stones or even their aesthetic appeal, but also draws attention to their portability by pointing to their combination of great value and small size. This emphasis on portability serves to remind us of the vulnerability of Jews in early modern Europe: prone to arbitrary expulsion from their homes (Hopkins). It is possible that Gerontus, a Jew living in Turkey, is descended from (or is himself) a displaced European Jew, and that his store of jewels represents a portable wealth that was harder to seize during expulsion from Europe, or trial by Catholic authorities like the Inquisition, or forced relocation within the Ottoman empire, or any other method of seizure to which Jews were subject in their positions of precarity.

green-headed wantons

naïve, self-indulgent spenders, or lustful, promiscuous women

Green-headed typically means raw and inexperienced and most of the OED’s examples for this definition refer to green-headed men who are naïve and idealistic (OED, green-headed, a.1 [obs.]). This definition pairs reasonably well with wanton if we take wanton to mean “a playful or mischevious child”, and look to the adjectival meanings of wanton as self-indulgent and lavish to an irresponsible degree (OED wanton, n.1.a, adj.5.d, and adj.5.e). Given that Mercadorus insinuates something he’d rather not say above, and given that they are speaking of women, however, we might read wanton as a lustful or lecherous person with adjectival connotations of a promiscuity specifically linked to women (OED wanton, n.2 and 3.a.i). In that second case, green-headed alludes to green-sickness, or chlorosis, caused by low iron counts, a medical disorder believed to occur almost exclusively in young, virginal women soon after puberty and cured by marriage and sexual intercourse (OED chlorosis, n.1). Polonius’s charge in Hamlet 1.3.100 that Ophelia speaks like a green girl when she tells him of Hamlet’s affection demonstrates how green could mean not only inexperienced, but fanciful when applied to women, and how it could enhance the sexual connotations of wanton. Thus, Gerontus, like Mercadorus, implies here that the women of England seek sexual gratification in international trade while preserving a shroud of plausible deniability.

our commodities

Unlike Shakespeare’s Shylock in The Merchant of Venice, whose livelihood is harshly circumscribed by anti-Semitic Venetian law, Gerontus has access to a large inventory and is looking to secure Mercadorus as a trading partner as well as a borrower. In the fifteenth century, Ottoman Jews were vital to the Ottoman empire’s international trade operations. As Halil İnalcık writes, in the fifteenth century, as the Ottoman empire was expanding and Jews were persecuted, dispossessed, and expelled from Christian Europe, Sultan Mehmed II strategically embraced incoming Jewish refugees as key to supporting the rebuilding of recently-captured international trade centers like Istanbul (4–5). İnalcık writes that for the reconstruction of the city, the sultan realized that he needed people with mercantile skills and capital, and he crafted policies to recruit (and, often, forcibly relocate) Jewish communities to Istanbul where they became indispensible for the economic development of his new imperial capital (5–6). Daniel Goffman argues that through the fifteenth and sixteenth centuries Jewish merchants came to compete fiercely with European traders in textiles and wine, but that their trading power declined towards the end of the sixteenth century because of shifts in international markets (17-19). Nevertheless, Jews from Europe, especially The Netherlands, would have invested in gems as easily transportable and the basis of new trade elsewhere. Jews also lived and traded in India, where gems are still a huge business; when the Portuguese took Goa, Jews moved south to Kerala and North Africa, and north all over—Mumbai, Delhi, Calcutta, often in the gem trade working or competing with Jains. Jains had the Asian market—Jews traded with middle east and Europe.

singing as followeth

See Wong, A Dramaturgical Study of Conscience’s Broom Song for an analysis of this song. Mithal notes that a ballad called Conscience Crye to all estates in selling of broom was licensed July 25, 1592, and that there are many examples of broom songs and ballads from the period (133 n.1287-1300).

steeped

Soaked, presumably to.

Pouch-rings

Rings for fastening pouches or purses.

buskins

Calf-high or knee-high boot.

cope

Barter, exchange.

smart

Sharp pain.

God’s law

The 1560 Geneva Bible prohibits usury specifically in several passages. Deuteronomy specifically outlines when it is forbidden (Deuteronomy 23.19–20). Leviticus 25.35–37 clearly sets usury at odds with hospitality, commanding that if thy brother be impoverished, and fallen in decay with thee, thou shalt relieve him, and as a stranger and sojourner, so shall he live with thee. Thou shalt take no usury of him, nor vantage, but thou shalt fear thy God, that thy brother may live with thee. Thou shalt not give him thy money to usury, nor lend him thy vittles for increase (Lev 25.35-37).

receive … we lend

Receive an amount bigger than what we lent (i.e., receive interest).

use

Usury.

insatiate

Never satisfied.

Wherewith

With which.

sundry

Distinct.

Paul

Although Paul writes about the importance of charity, he never specifically calls those who withhold charity thieves, nor does any other text in the Geneva Bible. Mithal 135 n.1318 points to 2 Cor. 9.9, which in the Geneva Bible reads He hath sparsed abroad and hath given to the poor: his benevolence remaineth for ever. Walker 445 n.35 also references the Epistle of St. James 2.6–9, in which those who dishonour the poor and fail to love their neighbors are rebuked of the Law, as transgressors. 2 Cor. 8, in which Paul appeals for donations to the poor, provides an interesting piece of the puzzle in verses 13–15: Neither is it that other men should be eased and you grieved: But upon like condition, at this time your abundance supplieth their lack: / That also their abundance may be for your lack, that there may be equality. / As it is written, he that gathered much, had nothing over, and he that gathered little, had not the less (Geneva Bible, 2 Cor. 8). Although Conscience’s claim is not spelled out exactly as she words it, it does not require a logical leap to make. Her idea may come from a sermon that interprets scripture rather than directly from scripture itself. Conscience’s speech here has the qualities of a sermon, and may be borrowing from texts like sermons, which were sometimes printed after they were preached.

clean

Completely.

use the mean

Follow this method (to achieve my purpose).

chops

Barters, trades.

broom-wife

Woman who manufactures or sells brooms.

harlot

Unchaste person, whore (insult).

thy friend

Obscure reference. Lucre herself may be the friend who might have treated her more generously; perhaps Hospitality, the friend who did help her as generously as he could, but as Lucre was not Conscience’s friend, Conscience’s silence would not have prevented Usury from murdering him; the most likely friend may be Love, who used to live with Conscience, but now is engaged to Dissimulation and has been transforming into Lust or Prostitution; that is, making a vicious business out of what should be a virtue. A final option as friend may be the people of London (the audience) more generally who provide her no rescue or income.

wottest

Knowest.

For … nigh gone

Lucre seems to be thinking aloud elliptically here—she presumably wishes to bid guests come to the wedding, and the invitations are already sent out; now she must hurry away to arrange things.

occasion

need

Walker notes that brooms might be needed to sweep the dining room in preparation for the feast, or as part of rituals of good luck such as ‘jumping the broomʼ (446 n.61). Floors were normally covered with sweet rushes; the brooms would be needed to sweep up the old rushes, so that servants can strew new ones for the wedding party.

apaid

Pleased, satisfied.

Yet … not grutch

I do not grudge giving you a gold coin, instead of the sterling silver coin (shilling) you asked for.

lead … a string

Proverbial: have the world (fortune) in a string, or leash (Dent W886). The phrase suggests entitlement to money and power to control all circumstances affecting the selfish enjoyment of life, specifically using gold to enslave others.

liberality

Generosity, open-mindedness.

deck up

Adorn, decorate.

five thousand crowns

1250 pounds, 1 crown being worth 5 shillings.

This sum is fantasy money for ordinary Elizabethans, who earned between 10 shillings and 100 pounds a year. Only very rich merchants and aristocrats had this kind of money.

sport

Recreation, especially hunting, with suggestions of sexual conquest.

fulfill your mind

Carry out your wishes.

dogs … your doings

Dogs being cowards who hide their heads from vice instead of barking at it. But Conscience is being swayed by the thought of the 5000 crowns, and wants to believe that no one, not even dogs, will scent anything out of place.

Kermode notes the reference to Shakespeare’s Richard III here, where dogs reveal Richard’s evil and strangeness by barking at him (R3 1.1.23 referenced in Kermode 142 n.83); so too in Shakespeare’s influential source, the Queen’s Men’s The True Tragedy of Richard III: Richard himself refers to those who ignore or accept vice as dogs: But the earl hath not so many biting dogs abroad as we have sleeping curs at home here, ready for rescue; Ah, Catesby, thou lookest like a dog, and thou, Lovell, too, but you will run away with them that be gone, and the devil go with you all.

desert

Deserving, merit.

wench

Sweetheart, but with secondary meanings here of female servant and wanton woman, considering the kind of house Lucre has in mind (OED wench, n.1.c, n.3.a, and n.2).

corner fit

Great location.

fits our turn

Serves our purpose.

bag of gold coins

This prop is implied by Conscience’s counting at 10.

attend … his man

Serve the groom at table, as a groomsman, an honor at wedding festivities.

spot Conscience’s face

For an analysis of this iconic scene, see Stevens, The Spotting of Lady Conscience; Salkeld, Ladies of London; Semple, Playing the Whore; and the Coda of Ostovich and Swain, Emblems.

Hold here … heart

Lucre is examining Conscience’s face to see if there are untouched areas that still need spotting, or she may be asking Conscience to take and count the money to see if any is missing. As Lucre stares at Conscience, she first sees her as a lovely object with power to arouse. What she sees may be Lucre’s fantasy based on fairytales: the red and the white skin of Rose Red and Snow White, ruby-red lips so alluring that the picture Lucre sees becomes more and more a desired body of perfect proportions, and her language moves from objectifying this face, these lips to exclaiming how beauty hath adorned thee, to mistaking the physical allure for Conscience’s soul, and finally, apparently without choosing, to kiss thee with my lips that love thee with my heart. But it should be clear that the desire is one-sided: Conscience, as her next speech makes clear, has been occupied with counting the money. Lucre is essentially arousing herself.

vaunt

Boast, self-congratulate.

favor

Beauty.

reddy

Red, ruddy.

Quick-rolling eyes

Rapid eye movements perhaps indicating fear, suspicion, or unfamiliar arousal especially because Lucre keeps touching her; or Conscience’s own arousal by touching the money. The reaction may be both, but the text is not clear.

Lucre is constructing a blazon of Conscience in describing her from head to toe, but there doesn’t seem to be a complimentary meaning for this expression. Eye rolling can signal injury or frenzy or surprise or disapproval (OED roll v.2 IV.21.a and v.2 IV.21.b). It is possible that Lucre responds to eye movements Conscience makes, or that Lucre is signaling that she is quickly rolling her eyes over Conscience’s features and satisfied by Conscience’s pleasure in the money.

seemly

Nicely.

told the crowns

Counted the money.

The text gives no clear indication beyond Hold above, of when Conscience receives the five thousand crowns from Lucre, or when she counts them, only the statement here that she has done so. Usury likely brings them in with the box of abominations, but the text offers a lot of discretion in how to stage Conscience’s payment and her counting.

decking of thy room

Redecorating your cottage space.

roaming

The irony here is that while Conscience’s honest work in the streets as an itinerant broom-seller put her at risk of a vagrancy label which equated women’s street selling with prostitution, it is sex work that takes Conscience off the streets and binds her to home, not traditional employment. Early modern notions of vagrancy are shown to be out of touch here with the forces that actually drive the sex trade in early modern London. Lucre reinforces this below when she explains how economics (and not necessarily moral character) force people to fall under her control.

watch your coming

With the double sense of (1) keep a vigil as a virtually religious duty until Lucre arrives; or (2) look out for, wait expectantly for (some coming event) (OED watch, v.I.2.a and v.II.12.b).

vauntingly

Ostentatiously.

bidding

Invitation.

’Scoggin

This is likely John Scoggin, a jesting scholar and star of a jestbook, Scoggin’s Jests (Scoggins Iests), entered into the Stationers’ Register in 1565; the copy in EEBO is 1613.

Scraggin’

Scragger, hangman.

The OED cites the first appearance of any form of scrag (meaning “hang”) in 1756; but clearly the word was in popular use well before that date, with the final g dropped to follow Scoggin (OED scrag, v.1.a). LEME cites several early sources in which scrag means skinny fool, the first in Thomas Thomas’s Dictionarium Linguae Latinae et Anglicanae (1587): A certaine leane scrag, a starueling, that is nothing but skin and bone: also barren, foolish (Strigosus, a, um); and subsequently affirmed in Florio (1598), Cotgrave (1611), and Kersey (1702) in compiling words still in use in the sixteenth and seventeenth centuries.

Coggin’

Deceiving, cheating. The editors spell it Coggin’ here, because this servant drops the final “g” to rhyme with Scoggin’.

The surname Coggin was Celtic in origin, found in Glamorganshire, Wales; south-west England; and Northern Ireland and parts of Scotland.

five … four worthies

Cogging is clownishly inflating his ancestors’ status by cutting the traditional number of worthies from nine to four. The nine worthies—listed in a fourteenth-century French text—are famous exemplary heroes from history. As the OED records, they consisted of three Jews (Joshua, David, and Judas Maccabaeus), three Pagans (Hector, Alexander, and Julius Caesar), and three Christians (Arthur, Charlemagne, and Godfrey of Bouillon) (OED nine, adj.2.c).

taken

Taken down, written.

after what fashion

In what order [they appear on the guest list].

Pickery

Petty theft.

Wink-at-wrong

Deliberately ignoring evil acts (wink meaning “close the eyes”).

Privy-theft

Theft of private or secret things.

Ferdinando False-weight … False-measure

Perhaps these guests stand out in receiving first names because their names mark them as foreign. Ferdinando is an Italian styling of the name Ferdinand (which was popular across Europe in many different forms) and Frissit and its Q1 variant, Frisset, are variants of Hungarian words meaning fresh, impudent. Is the play insinuating that foreign weights and measures, or foreign merchants misusing English weights and measures, are eroding marketplace trust? Are the names markers of class, noting that these people are above the simple titles of Master and Mistress? In England, standard weights and measures were set by the crown but regularly misused and abused. In Elizabethan England, there were numerous discussions in Parliament about improving weights and measures standardization, but little consensus and little action (see Greaves 614). Throughout Elizabeth’s reign, false weights and measures were common enough not simply because of avarice, but because achieving and enforcing a true, accessible standard was challenging (Greaves, 616). While the problems of standardization must have caused headaches for international trade and for customs officers, standardization was problematic between regions of England too. Thus, if this is a moment of xenophobia in the play, slight as it seems, it is not an entirely accurate picture of the complex situation Elizabethan merchants and consumers faced.

middest

Middle (of the table).

have a great miss of

Greatly wish to see.

even

Evening.

had like to have

Would likely have.

at any hand

On any account.

’Tis good … the hatch

The proverb “’Tis good having a hatch before the door” means that it is good to keep silent (OED hatch, n.1.P.2), or, as Kermode suggests, it is good to keep the world from knowing about Dissimulation’s marriage (146 n.38). Dissimulation’s addition to the phrase—that he will place the door before the hatch—plays on the meaning of the word hatch as a half-door or gate with an open space above (OED hatch, n.1.1.a). As Walker notes, The implication seems to be that Dissimulation will be doubly safe. Rather than having an open half door, he’ll keep his hatch behind a locked door (450 n.39).

The wordplay on hatch may also be a reference to the transformation of Love into Prostitution: love is no longer freely given, but a commodity to be paid for, and Dissimulation is the keeper of the hatch in that regard—the pimp who controls male access to his secret wife. The marriage, this suggests, may be invalid, but it works as a trap for Love.

scall, bald, knave

Scabby rascal, suffering hair loss from venereal diseases.

love … teeth forward

Speak about love or feign love, but not feel it in the heart.

be preferred

Be favored socially, be put in a privileged position.

Kermode suggests the comment is ironic (Kermode 146 n.44), but it seems to be a crude joke: the hypothetical wife will be socially isolated because marriages need witnesses. Both men laugh in the next line.

to have … chance

Proverbial (see Dent E235): to keep focused on what’s most important, especially to one’s own advantage (OED chance, P.II.12.b).

durance

(a) Durable cloth or (b) long-lasting imprisonment.

Durance carries several meanings connected to the concept of duress. As fabric, durance was a kind of long-lasting wool (OED durance, n.3). Durance could also mean forced confinement and imprisonment (OED durance, n.5).

The tailor in Simony’s example is a clever criminal to steal a yard and a half of cloth, but he is less clever if he steals and receives a year and a half of imprisonment. Henry IV, Part 1 puns on these same double meanings of durance in Act 1 Scene 2, where Hal quips is not a buff jerkin a most sweet robe of durance? 1HIV1.2.35-36

devil … Saint Katherine

He either served the devil by cheating people while disguising himself as a saint, or he played a trick on a Flemish clothier who lived in the area of St Katherine’s Docks, still the name of the marina on the Thames near the Tower on the north bank.

In the 1580s and 1590s, the area was an unsavory overcrowded slum, full of Flemish immigrants said to be drunk at all times and taking jobs from the English clothworkers, although the fact was that the Flemish had more fashionable patterns and made finer cloth for more up-market customers. Mithal suggests that the reference is to Catherine of Siena, who lived an ascetic life of service to the sick and the poor in the fourteenth century (139 n.1514). This association is unlikely among Protestants. See also MoEML, St. Katherine’s Hospital.

three fingers

Three fingers’ worth of material, at least 2.5 to 3 inches.

Venetians

Knee-length breeches in a style fashionable in Venice and across Europe.

Acceptable lengths varied with fashion trends, but the complaint here is that the Venetians are shorter than acceptable because the tailor has stolen fabric for himself.

Two pieces … broad

Two pieces of cloth he used, each the breadth of a hand.

buy … another pair

Buy another pair’s worth of material.

he could his occupation

Knew his business (and exploited customers for gain); by implication, tailors and thieves follow one and the same occupation.

his knavery … did agree

Q1’s line reads his knavery and my policy did not agree, reversing the meaning, and might be expected from Dissimulation. But who would believe him? With or without the not, Dissimulation is a liar. Dissimulation’s thanks in line 1395 may be sarcastic; Simony reassures him that he was simply telling a story to praise Fraud, not Dissimulation. Dissimulation seems to take offense, giving logical context for Simony’s move to change the subject.

bear

Deliver.

even now presently

Immediately.

Muhammad

The Prophet Muhammad (570–632), founder of Islam.

Mahomet was a common spelling of Muhammad in early modern English. As the OED notes, this spelling represents an inaccurate rendering of the Arabic name (OED Mahomet n., Etymology). Mahomet has thus been modernized to Muhammad, the preferred modern spelling, in order to maintain Gerontus’s confidence in his Turkish setting. Though Gerontus is not a Muslim (which makes his oath here the product of his environment, not his heritage), it is implausible that he, as a Jewish subject of the Ottoman empire and a Turkish merchant, would be unfamiliar with the proper pronunciations of common Arabic names.

tree

Three.

heddar

Hither (to Turkey).

so mush as two straws

Even the smallest bit.

sitten

Shitten: 1. covered with excrement or 2. disgusting, contemptible (OED shitten, adj.1 and 2).

The Song

This song’s lyrics appear to be original to the play, and no tune is recorded.

brave it

Swagger, act with bravado.

lusty

Enjoyable, vigorous.

Both quartos use the adverb form lustely/lustily here, when the adjective forms, lusty and lustly, are grammatically and metrically called for. Mithal suggests lusty is intended, while Kermode and Walker opt for lustly. Given that the meaning here seems to encompass vigorous, daring bravado as well as self-pleasuring, sexual bravado, lusty, which calls to mind both pleasure and vigor, seems the best fit. Lustly encompasses pleasure, but not vigor, as the OED records (OED lustly n.1).

Our fingers are lime-twigs

We have sticky fingers (i.e. we are thieves).

barbers

Thieves, who figuratively trim, clip, and cut their customers of their valuables.

sheets

Q1’s roman font makes the spelling of sheetes unmistakable. In Q1, the beggars are threatening to steal sheets from hedges, where they’ve been left out to dry. It is unclear, though, how the rest of the line, most pleasant to see, fits in with this idea. In Q2, black letter makes the spelling more ambiguous—it could be “sheetes”, but it could also be “sheeres”, or shears. Should the line in Q2 be shears, then the beggars are threatening to steal shears used to prune hedges, and use them to create better sightlines between them and their targets. Hedges were the usual form of fence in England, (OED hedge n. 1a.) and they are a security and privacy barrier that thieves would be most interested in circumventing. However, the following line, in which the beggars sell them the alewife, makes much more sense if the Q1 spelling of sheetes is retained here. An alewife whose tavern served as an inn or a brothel would have a constant need for bedding, but not so much for shears.

alewife

A woman who brews and sells ale, and/or a landlady of a public house or tavern (which could be attached to an inn or a brothel).

to loose … hedge

To let loose or release oneself physically; open the bowels (OED loose 1.a, 6.b.), while sheltering under a fence made of bushes (briars, brambles, hawthorn), staked and wound together (hedge used generally to express contempt for clandestine activity, such as having sexual relations with a hedge-whore). Any such unlawful behavior was considered Mean, third-rate, paltry, despicable, rascally (OED hedge, n, C2) Because hedges were used to enclose property, hedge-thieves sit on the boundary between private and public, legal and illegal, contravening common law.

Mithal interprets the original spelling of lowse to mean clear oneself from lice, and Kermode, like Hazlitt, modernizes the word as louse with this same sense, a reasonable definition, esp. given the clown trick of seeming to pick his lice and throw them at the audience.

OED recognizes louse and lowse as variant spellings of the word loose, and the connotations of loose reinforce the advantages Tom Beggar sees in begging: namely, freedom from a set work schedule to indulge himself. His praise of his occupation turns legal and social stigmas upside down: beggars, Tom claims, behave no differently from lords in their freedom to pass their time however they wish, and use the outdoors for recreation and relaxation rather than for labor and survival. For an extended celebration of this attitude, see Brome’s A Jovial Crew (1641).

clip and coll

Embrace around the neck, hold and kiss (OED clip v.1 and coll v.1)

Clip and coll are also synonyms for trimming hair or shearing livestock (see OED clip v.2 and coll v.2), so while the primary meaning here is to embrace a girlfriend, the expression also plays on the idea that beggars avoid the labor of shepherds in favor of amorous pursuits.

Madge

Generic name for a country lass (Kermode 150 n.16), based on the barn owl, or Madge-howlet (Fr. la machette) from the moaning and shrieking owls make at night, sounding like female sexual responses.

take … air abroad

Escape the urban center for fresh, country air.

Tom subtly likens the advantages of being a beggar to privileges one would usually equate with the wealthy aristocracy. As Leona Skelton writes, people in early modern England believed that the air which they inhaled possessed a similar capability with which to nourish or damage their bodies as did the food which they ingested (37). Noxious odours were thought to be a vector of disease, and of plague in particular, while wholesome air, as it was called, was fresh-smelling, health-promoting, and typically found outside towns and urban centres like London. During plague outbreaks, those who could afford to relocate to the country (i.e., the wealthy and the mobile) would do so for their own protection. Middle and low-ranking urbanites who were tied to their occupations, families, or apprenticeships were not always able to undertake extended trips to the country, especially since a lower-ranking person abandoning those markers of place to take in healthy air abroad was likely to be labeled a beggar or vagrant and pushed out of town. The irony in Tom’s speech—addressed, we can assume, to an audience of city-dwellers of middling rank—is that those at the very top and the very bottom enjoy the finer things in life, while the middle toils to support both in idleness and privilege.

sweet

Fresh, pleasant.

Along with wholesome, sweet was a common descriptor of healthy air (Skelton 37).

charter of liberty

Officially recognized privilege to move freely (combination of two kinds of work statuses to form a privilege that does not exist).

Tom Beggar borrows terminology of the mercantile and artisanal industries here to elevate begging. Charters are documents which grant privileges and rights, and function to incorporate companies and corporations (thus making them legitimate and legal ventures). Beggars were subject to a licensing system, especially if they travelled outside their home parishes (Beier 110). A charter and a license are similar in concept, but a charter has a positive connotation that a license to beg lacks. A liberty, likewise, is a legal right or privilege that in this context alludes to the privileges of freemen—whose membership in chartered towns freed them from serfdom in medieval England, and whose membership in guilds, liveries, or trades granted them the right to trade in early modern England. Charters typically granted liberties, but in this line Tom plays on both words to suggest he has a charter that grants freedom of movement across the country. Tom thus imagines himself as a legitimate merchant or freeman, specializing in freedom of movement.

ancient freedom

Frith, from Anglo-Saxon times, freedom from molestation, protection from injustice; safety, security (OED frith n1, 1).

This historic reference is likely ironic, as there is nothing particularly ancient about the freedoms Tom Beggar has outlined. On the contrary, the freedoms Tom outlines demonstrate the collapse of the ancient feudal system that bound people to the land and reciprocal service to lords. All but the freedom of the city are shaped to some degree by Elizabethan poor laws, which are an intercession aimed at reshaping England in the absence of feudalism and Catholic institutions of poor relief.

church money, subsidies, fifteens, scot

Taxes.

church money

The church money referenced here is likely a tithe but perhaps a set of more formal, involuntary contributions (see Peter Pence 2). After the English Reformation, Henry VIII collected the tenth (10% of produce, profits, and property), transferring peoples’ traditional tithe of 10% away from the pope and towards the crown instead, where it was then to be dispersed to the Church of England (OED tenth n. B. 1.b). Since neither the tithe nor the tenth are mentioned here, it seems likely that church money calls out this traditional contribution.

subsidies

A subsidy is a tax levied on imports and exports, but under Tudor rule was chiefly […] a tax of four shillings in the pound on lands and two shillings and eight pence in the pound on moveables (OED subsidy n. 2.a).

fifteens

Tax of one fifteenth … imposed on personal property (OED fifteenth n. 1.).

neither pay … nor lot

To pay neither scot nor lot means to pay nothing at all (OED scot n2, P2.a); specifically to avoid duty paid towards municipal expenses […] municipal taxes and charges paid by burgesses in proportion to their means (OED scot n2, 2).

payings

Money we pay in taxes and fees.

cozen

Cheat.

small beer

Weak, inferior-quality beer.

If.

hath but

Has not even (that is, only a crutch of some kind is supporting the lame leg).

People with serious disabilities and/or injuries could apply for licenses that would legally permit them to beg across England, or travel to places like Bath and Buxton for cures (see Beier, 114–5). Rogues were said to forge these licenses, which afforded greater mobility than other licenses. Tom and Will abuse and mock a system established to care for the needy. See A. L. Beier’s Masterless Men: The Vagrancy Problem in England 1560–1640.

vengeance

Intensely.

tarry

Wait, put off.

bawling

Bellowing.

alms-deed

Charitable gift, good deed.

earnest

Ardent, intense.

arms

Coat of arms (heraldry); possibly punning on alms, which Fraud did not distribute fairly, proving he is not a gentleman.

descry

Reveal, describe.

scutcheon

Escutcheon, or shield […] on which a coat of arms is depicted (OED escutcheon n.1 1.a).

two trees … passant

Gibbets or crosses, as used in public executions; a sour or bitter tree in heraldry is a gallows, but not exactly a gentlemanly boast of honest forebears.

The use here seems to be ironic, at least for the audience. Trees in heraldic terms may be trunked, eradicated, pollarded, snagged or accrued, etc.; but cannot move like animals. Simplicity misapplies heraldic terms to demonstrate his knowledge (he hopes) of Fraud’s fate as a hanged man. See Gough and Parker’s entry for Tree in A Glossary of Terms Used in Heraldry. Simplicity is aware that Fraud is a thief and thus sees a parallel to the three crosses at Jesus’s crucifixion, two thieves on either side, with Jesus in the center. But his use of heraldic terms is inaccurate: a tree cannot be rampant as that describes an animal (esp. a lion) leaping up, a hind foot still on the ground and forepaws in the air. Similarly, a tree cannot be passant, walking from left to right with three of four paws raised, and eyes straight ahead. Nevertheless, like the scriptures, one of the thieves is saved.

pendant

Image of something hanging down in an escutcheon, and a pun for hanging from a gallows.

In heraldic terms, pendant refers to a hanging point that drops down from a label: a band drawn across the upper part of the shield having (usually three) dependent points one of these points is a pendant (OED label n1, 5). Labels in heraldry serve to distinguish an eldest son, so this meaning sets up Simplicity’s reference to Fraud’s status as a younger brother in the next line. A band or bar that hangs from the left (bar sinister) identifies a bastard line.

hempen halter

Rope made of hemp, a noose.

knot under … brother

Alluding to a badge or monogram in heraldry, as well as to hanging.

Mithal notes, Marks of cadency in these knots denoted each son of a family in order of seniority. Simplicity calls Fraud as the younger brother of Deceit, making the knot a mark of his birth order (142 n.1640-1641). This plays off the reference to pendants in the previous line, which also mark birth order. The knot under the ear demonstrates a noose drawn tight against a convict’s neck—not a proper heraldic image.

crease

Crest; in heraldic terms, a figure or device placed on a wreath, coronet, or chapeau, and borne above the shield and helmet in a coat of arms (OED crest n.1 3.a).

ostler’s hand in a dish of grease

See note at [2].

turn the ladder

Remove the steps to the gallows’ rope (so that a condemned man hangs); or push the man off the ladder (as in Kyd’s Spanish Tragedy). Neither method guarantees a broken neck or a quick death; strangulation might last twenty minutes.

your picture

Your image, or likeness.

helmet

figure of a helmet placed above the escutcheon in an achievement and supporting the crest (OED helmet n. 2.)

In Elizabethan England, the material and positioning of a helmet on an escutcheon marks the rank of the wearer (See Gough and Parker, 316–18).

tables like chains

Rectangles that look like links in chains.

Table denotes many different objects, but all have a rectangular property that seems appropriate for the image of a vertically hanging chain that Simplicity is describing. Mithal suggests that tables here means thin strips of wood or metal, and connects it to defensive armour for the head, which was commonly made to rest upon the shoulder of the knight wearing it and was secured to his person by a chain. These chains in the world of heraldry were sometimes represented as formed of solid flat pieces (142–3 n.1646). Kermode notes that tables could be tablets, and suggests that they refer here to weights to pull on the ropes and ‘make you hang fastʼ, as Simplicity puts it (and a number of weights threaded together would resemble a ‘chainʼ (152 n.64). Both Mithal and Kermode entertain Hazlitt’s suggestion that the word should be cable rather than table (Hazlitt 351), and Kermode adds that a small ‘tʼ could look like a ‘cʼ in secretary hand manuscript, and the meaning—that the hempen ropes are as stout as cable and therefore efficient for hanging a man—is apt(152 n.64).

swad

Country bumpkin, clownish fellow (common insult).

Thou prat’st … what

Your babbling is incomprehensible even to you.

wit

Mental faculties.

arms

Coat of arms.

blazed so far abroad

Been made public, achieved fame.

To blaze abroad is to render illustrious (OED emblazon v. 2), with a pun on blazon, meaning to describe in proper heraldic language (OED blazon v. 1).

he is hanged

He (Deceit) is executed.

put out

Remove.

sort

Way.

hack it … highway-side

Make a living on the road side (presumably by robbing travellers, or by cheating travellers, as Fraud did in his work as an ostler).

The terms highway robbers (1577), highway thief (1578), and highway stander (1600), have their first recorded uses in the OED around the time of the play’s publication, suggesting that thieves had come to specialize in highway robbery. But LEME is a fuller source of lexicons about highwaymen. See Thomas Harman, A Caveat for Common Cursitors (1567), the hygh pad, the hygh waye (descriptions of types of robbers, urban and rural, and their canting language) (G3v); and John Baret, An Alveary or Triple Dictionary, in English, Latin, and French (1574), to Robbe or slea by the high wayes: to go or come on with a violent rage; a brigand (Baret, to Robbe). Fraud may be referring to the schemes of ostlers and innkeepers, but this line hints strongly at the plan Fraud will reveal in the following lines.

a-fishing … window

Stealing objects from a low window.

lime-twigs to … dish

Sticky-coated tools (i.e., a thief’s fingers) to steal food.

give back

Retreat, restore.

double shot … jack

Two drinks from a large, tar-coated beer jug.

This phrase is an instance of transferred meaning in which a shotte, or a rekenyng in a tauerne an Inne or such other place became the measure or quantity of a drink instead of the money paid for drink (Thomas, scotto ). Mithal suggests that double shot is the OED’s “double-shot”, meaning to load (a cannon) with a double quantity of shot OED double-shot v., but this meaning wasn’t current until the nineteenth-century and functions as a verb rather than a noun (Mithal 144 n.1684). Kermode’s gloss of two swigs out of a large, leather beer jug (154 n.94) makes more sense contextually, but the first recorded instance of shot meaning supply or amount of drink(OED shot n. IV. 23.f) does not occur until 1676. In the sixteenth century, a shot in a drinking context is the payment due at a tavern or banquet for a night’s entertainment, so that in the 1580s to have free shot was to have gratuitous entertainment (OED shot n. IV. 23.c). A double shot, in the sixteenth century, might not exactly equate to two swigs, but likely can refer to a generous quantity of drink.

bring us a-bed

Put us to sleep (with mere talking).

The more direct interpretation is that Will is impatient to turn talk into action, as in the next line he spurs his companions to get going. In OED, it means both put to bed and to be delivered of a child. There is a chance that Will alludes to birth as a metaphor for ideas here, so that he is saying in essence your talk of robbery is impregnating us with ideas for thieving.

gear

stuff, things

captain courageously

Mithal notes an allusion to the ballad of Mary Ambree which starts ‘When Captains couragious ,whom death could not daunt.ʼ The full ballad, titled The Valorous Arts performed at Gaunt by Mary Ambree is available at the English Broadside Ballad Archive (Fumerton, EBBA 33948).

Enter the Judge of Turkey, with Gerontus and Mercadorus

Law case of Gerontus against Mercadorus, heard by the Judge of Turkey.

Robert Wilson’s depiction of this legal case is plausible given what we know about how the overlapping judicial systems in the Ottoman empire worked in this period. The Ottoman empire followed the Islamic sharī’a legal system, as well as the kanun (a set of secular Ottoman laws). Jewish residents of the empire followed their own halakhah legal system whenever possible (though with some limits—see Joseph R. Hacker’s Jewish Autonomy in the Ottoman Empire) and Christians had their own legal system as well within the empire. Although disputes between members of the Jewish community were settled as often as possible within the community’s legal system, Legal matters between Jews and non-Jews, whether Muslims or Christians, were brought before Muslim law courts even though those courts privileged Muslims (Shmuelevitz 44). Shmuelevitz writes that there is no information on the appearance of Christians in Jewish courts or on the appearance of Jews in Christian courts. The animosity and suspicion between the Jewish and Christian communities was so deep, and the fear of a miscarriage of justice so great, that both communities preferred to submit legal cases against each other to the Muslim law court (46). The balance of power in this trial scene is thus strikingly different from the power dynamics of Shakespeare’s later Merchant of Venice, where the defaulting Italian merchant can reasonably expect a significant advantage. It’s also strikingly different from 3LL Scene 17 in an English court.

in Turkish clothing

Gerontus notes at [14] that Mercadorus is dressed in Turkish weeds.

Judge of Turkey

Two judges appear in this play—the judge in Turkey and the judge in London who is called Nemo. Both are called judge in their speaker prefixes (although the Arabic word for judge, qāḍī, was available in early modern England from 1590 (OED cadi n.)). In this modernization, their speaker prefixes are taken from the names that appear in their entrance cues to minimize confusion. Both are small roles and could be easily doubled for dramatic effect or convenience, but they are not the same character.

my money did demand

Q2’s line, the money did demand has been replaced with Q1’s my money did demand. Q2’s use of the impersonal the money gives a more businesslike reading than Q1’s my which makes the case personal, and even grasping, although the complainant has waited well beyond the agreed time to repay the debt and has not been abusive.

Did borrow … space

See [9] for Gerontus’s earlier account of his transactions with Mercadorus, which differ slightly from the account he gives to the Judge. The total sum (3000 ducats) and total length of the loan (three months, two years overdue) are the same, but the sequence of events differs. Collier suggests that few may have been intended rather than five (243 P.226.1.16). Gerontus has more incentive to be precise here, presumably, than he did in the earlier scene when his goal was to keep Mercadorus as a customer and cajole him into repaying the loan.

closely

Secretly, covertly.

at least this two years’ day

In at least two years.

Turkish weeds

Turkish clothing, making a silent statement on his political and religious preference, bound to affect his case.

a Mahomet

a Muslim

Mahomet is an early English mistranslation of the Arabic name Muhammad; the word Mahomet is used here as a shorthand for a follower of the Prophet Muhammad, the founder of Islam. The common early modern phrase for converting to Islam was to turn Turk. The word Muslim came into the English language in 1615, in an English glossary of Arabic terms (see William Bedwell’s Mohammedis Imposturae in LEME). Prior to this, many terms and spellings circulated to refer to the followers of Islam, but Muslim is the current preferred term and spelling. Actors may wish to break the rhyme scheme and substitute Muslim or follow Muhammad for the inaccurate become a Mahomet, especially since the speaker here is himself Muslim and, moreover, a judge of Islamic law. Mahomet has been changed to Muhammad for Gerontus’s oath at 12 where it worked as a simple modernization of the name’s spelling, and although a change here will be more noticeable, it may be worthwhile if a production aims to lend plausibility and credibility to the Judge of Turkey’s character and to the Turkish setting. Conversely, a production which aims to highlight the play’s misapprehensions and cultural projections about foreignness may wish to retain the inaccurate but common sixteenth-century English noun Mahomet and deny the actors the cultural fluency we might expect from the characters they play.

’Tis the … realm

See Matthew Martin’s article, Religious Tolerance in Wilson and Marlowe, for a discussion of Gerontus and Mercadorus in the Turkish court, and the ways ‘the law of our realmʼ being enforced in this particular instance establishes a kind of religious freedom, the freedom to convert to Islam, that only furthers the vice characters’ goal of corrupting Christian London; see also Anders Ingram, Turks, Trade, and Turning

me will … Turk

I will convert to Islam.

puissant

Powerful, influential.

principal

Initial sum loaned.

No point … point

Emphatic refusal: neither … nor, based on the French ne point.

denier

Small coin (figuratively, a small sum).

’long of

Because of, on account of.

Some critics see Gerontus’s mercy and forgiveness here as compassion or empathy (while hopefully working to resist Wilson’s anti-semitic conflation of compassion and mercy with Christianity and avarice with Judaism at the end of the scene). Brett Hirsch in Much Ado About Gerontus, argues that Gerontus’s motives in this scene are opaque. Mercadorus’s conversion and apostasy is, to Christians, akin to death. Death, he writes, —even the threat of death—is not good for business, and given that his Gerontus’s clientele include Chrisitian merchants, Gerontus’s fears of being blamed for Mercadorus’s apostasy may easily be read in an economic light as it might cost him his livelihood and reputation.

wherefore

As a result, on account of this.

proffer

Proposal, offer.

trow

Trust.

Jews seek … Jewishness

Jews emulate the supposed Christian ideal of mercy and forgiveness of sin, whereas Christians assimilate the avarice and hard-heartedness attributed to Jews.

Many scholars comment on this anti-Semitic summary of the Gerontus-Mercadorus plot, which fixes Christianity as morally superior to Judaism and disavows the overwhelmingly corrupt, lucre-driven behaviour of Christian characters both at home in London and abroad in Turkey as Jewishness. For analysis of this line in the Performance as Research collection, see Matthew Martin’s Religious Tolerance in Wilson and Marlowe, Brett Hirsch’s Much Ado About Gerontus, or The Three Ladies of London and the Jews, David Bevington’s The Ideals of Christian Charity and Forgiveness in Robert Wilson’s Three Ladies of London and in the Anonymous The Play of the Sacrament, Lisa Hopkins’s Gerontus and Early Modern Dramatic Representations of Jews, all of which may be located on Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context.

bolden

Embolden.

keep day

Pay loans back on time.

references

a good … go

A good reputation you will have.

vizard

Mask.

Love wears a mask that conceals her face. Kermode suggests that vizard behind means that she wears a mask on the back of her head (giving her two faces), which agrees with Diligence’s description of Love in scene 17, line 4 (17) as a deformed creature much like Bifrons with two faces, akin to Janus. Masks on either side of the actor’s head might highlight the dialogue’s reference to two faces, help provide a visual clue for the mythological reference to Bifrons in the next scene, but behind may also simply mean that Love follows behind Lucre wearing a single mask that disguises the actor’s face or head (since Lucre explains she wears the mask to disguise her lust-swollen or pride-swollen head). Helen Ostovich points out the vizard’s practical role in Doubling Love, where it allows the actor who plays Conscience also to play Love so that Love and Lucre (who, throughout the play, have been played by the same actor) can appear on stage together while keeping the doubling of Love opaque to the audience. As Ostovich notes, however, the doubling of Love and Lucre, and Love’s appearance in a vizard, go beyond simple practicality and contribute to the audience’s understanding of Love’s corruption in the play. See Ostovich’s article for a more through discussion, and images of vizards, and of Bifrons. See also Andrea Stevens’s article The Spotting of Lady Conscience in The Three Ladies of London, for a discussion of the ways Lucre’s interactions with Love in this scene resonate if the audience knows Conscience’s face to be behind the vizard.

behind

Following after; Love tries to keep herself hidden by staying back like a shadow.

coy conceit

Secret notion, possibly lustful thought.

Conceit in this context means thought or idea, especially since the conceit enters Love’s head, or thoughts (which prove to be the source and sign of her corruption). Coy, however, bears a variety of contradictory denotations and connotations beyond its simple meaning of secrecy or modesty. To coy something means to coax or attract it, while at the same time it means to withdraw from view, so that to act or behave coyly is to affect shyness or reserve (and here the OED’s examples all see women acting coyly in courtship) (OED coy v. 1, 4a.). As an adjective, of a person, coy means Displaying modest backwardness or shyness (sometimes with an emphasis on the displaying); not responding readily to familiar advances (OED coy, adj. 2.a). Coy here could mean a secret thought, but Lucre might also be hinting that she knows full well that the cause of Love’s unhappiness and deformity is her lustful thoughts, which she herself confesses in her reply.

pressed

Compelled or pushed. Sometimes a euphemism for sexual intercourse.

eke

Also.

counted

Reckoned as, recognized as.

repose

Place.

hap

Circumstances, lot in life.

Of truth

Truly.

two faces … hood

One face is the vizard, and the other face is the real face that Lucre discovers when she checks to see how swollen Love’s head is. It is unclear which of the faces Lucre praises in 15. Does she praise the vizard for its seeming smile and artificially smooth countenance or does she praise what she sees beneath the vizard (which, as Andrea Stevens notes, is potentially the spotted face of Conscience)? See The Spotting of Lady Conscience in The Three Ladies of London

sports … such toys

Pastimes (with sexual connotations) to replace frivolous matters, like Love’s swollen head and vizard.

robbery

See Fraud, at 13, telling Tom Beggar and Wily Will that Lucre wishes the three of them to rob Mercadorus as he returns from Turkey. Simplicity had already parted ways with Tom and Will before Fraud proposes this robbery, and so is telling the truth as far as the audience knows when he later reports he knows nothing about the robbery.

be miserable to me

Commiserate with me.

Simplicity clownishly asks for harsher punishment when he thinks he’s asking the guard to commiserate (show compassion) and release him from punishment. Alternatively, since he says for he makes his living through begging in the next line, he might be ironically suggesting that being released into the world to beg is a more miserable punishment than being whipped.

presumption

Expectation, belief based on available evidence (OED presumption n. 3.a).

Enter Fraud

In scene 17, Diligence reports that Fraud has been seen in the streets walking in a citizen's gown, and Diligence two lines down says he knows Fraud to be a wealthy man and a burgess, seeming to confirm that Fraud is wearing a citizen’s gown in this scene too (17).

burgess

Citizen of a borough, or sometimes a title for an elected political representative or town authority.

If.

standeth not … brawl

Brawling does not suit a person of my position.

must … the knave

Must the comportment of self and rank in fine clothes and gestures use his authority to oppress the poor?

Countenance can simply be the pride of the rich in ruling over the poor. Simplicity sees that meaning in Fraud’s dismissive gestures and face—and in the beadle’s brutality and indifference to the powerless. Because Fraud has countenance—the bearing and funding of a rich man, and the clothes too—then he can cover up the knave he really is. Simplicity is being treated as a knave or whipping boy for the real knave, Fraud, who can force the beadle to whip the innocent and save his own reputation or face (or countenance). Perhaps Simplicity is calling back to the playing card analogy he employed in scene 2, 2, to ask why a countenance, or face-card (perhaps Fraud in his assumed identity as a burgess) must trump a knave (as Simplicity appears to be—a kind of reversal of their roles in scene 2, when Fraud was the rascal and Simplicity a simple farmer).

face folks out

Put people down, bully people.

The OED clearly defines to face out in the primary sense of the phrase as to put down or browbeat people out (OED face v. P1.a). But Simplicity layers in additional puns here, recalling the notion of countenance to mean face card in the previous line. In the card game of primero, the OED records, to face (something) out with a card of ten means to bluff or brag your way to a victory using a low-scoring card (OED card n.2 P.1). To face however could also mean to dress or adorn a surface (OED face v. 7.b.), which sets up the next part of the sentence where Simplicity asks for clothing after being faced out, or stripped of his clothing, as he is in the stage direction in the very next line.

repariment

Reparel, clothing or attire; the clown’s invented expanded word aims for rhetorical dignity in his apparel.

The reference to clothing makes sense in the context of this line given that face out can potentially mean to strip or undress, as well as to dress according to rank (leaving us to assume that perhaps the Beadle is starting to undress Simplicity slightly ahead of Wilson’s stage direction in the next line). Alternatively, looking at Q2, the printed word could be either reparlment or repariment. Repariment looks like Simplicity’s fusion of the verbs repay and repair into a hybrid noun-form, which would make sense given the context in which Simplicity asks for restitution. The meanings of reparlment and repariment are not mutually exclusive, since clothing would be a fitting form of restitution.

Jack Sauce

Name for an impudent, presumptuous man.

fain

Gladly, eagerly.

a pin

A small, worthless amount (ie. anything).

worn out … whipping

Simplicity seems to have distracted the beadle and constable from their earlier resolve to remove Simplicity’s clothing (as per the earlier stage direction). Simplicity’s absurd desire to be whipped with credit may have less to do with his actual concern over his clothing and more to do with his attempts to postpone punishment by confusing his literal-minded captors.

Nemo

No man, Nobody (Latin)

This character is unlikely to be the same as Sir Nicholas Nemo in 4 as Mithal (124 n.734) and Walker (428 n.s.d.) suggest, whereas Kermode (38) points out that since the characters never name the Judge Nemo, the play at no time requires these characters to be connected for the audience (see introduction for a longer discussion of the two Nemos, and on the allegorical and legal functions of Nemo as a name).

assize

Court of law (literally, seating, from Norman French) held periodically in every county of England.

Clerk of … assize

Each circuit in the system of assizes had a clerk responsible for the administration of that circuit. The clerk (usually a barrister or judge) was responsible for maintaining the record of the court, and was forbidden from practicing law in that same circuit (See Cockburn, chapter 5).

Crier

Officer who makes announcements and summons the jury and witnesses in a court of justice.

being set, … thrice

Traditionally, the crier calls “ Oyez, oyez, oyez! ” (Norman French) for “Hear thee, hear thee, hear thee!” Everyone in the court has to be silent, for the next order commands them to be up-standing as the judge enters and sits on the bench. Once the judge is set on his bench, the others may sit again. This is still a common legal procedure in the court.

Serviceable Diligence, … bar.

Legal process seems to be followed. (1) The judge orders the prisoners to the bar; the two ladies are probably on stage but in the prisoners’ box. The order would bring them center-stage. (2) Diligence waits because one prisoner (Love) is missing, and so are witnesses and other potential prisoners, as Diligence explains to the judge. (3) Nemo orders Diligence again to Fetch Lucre and Conscience to the bar, and Diligence may give a signal of some kind to release the two ladies from the box, and allow them to approach the judge.

Bifrons, … Juno

Helen Ostovich, in Doubling Love, writes that Bifrons is a mythological figure of many monstrous shapes, demonic in origin: male or female, hunchbacked, a cloaked demon carrying a bloody scythe, obsessed with death and hiding corpses, and includes images of Bifrons. Bifrons more commonly means “two-faced”. In Love’s case, one face is the vizard, smooth and painted to charm; the other is the ugly face behind the mask, distorted by Love’s swollen head. In Roman mythology, Bifrons is not a daughter of Juno but an aspect of the God Janus, who appears with two faces (one looking forward to the future and one looking to the past behind him). As Kermode notes, the Janus-Juno confusion presumably makes Diligence call Bifrons Juno’s daughter, but she also had a daughter Hebe (Juventas), a young girl who maintained the purity of the domestic hearth or home. In some ways, Love, now polluted, is Hebe perverted. The two-faced concept may derive from Juno, a maternal source rooted in adultery (since Bifrons is said to be base) and/or miscegenation. Juno’s illegitimate son was Haphaestus or Vulcan, crippled when Zeus threw him out of Olympia.

Exchange

The Royal Exchange, a fashionable shopping centre built in 1567 and opened in 1571, where merchants gathered to do business within London city walls.

The Royal Exchange remains in operation today and an illustrated timeline of its history is available here. The Royal Exchange is also indexed as a site on The Map of Early Modern London; see Royal Exchange.

Paul’s

St. Paul’s Cathedral, an important London centre.

St. Paul’s is the seat of the Bishop of London, and so is an important spiritual centre for Simony to have infiltrated, but was also a place for booksellers in the grounds around the church, where readers and others might walk and converse casually. To see what life was like in London at St Paul’s, read 3.1 of Ben Jonson’s Every Man Out of his Humour (1600). Religious services took place in St. Paul’s, but the building was huge and the transepts and aisles were used as thoroughfares (for horses and wagons); people posted advertisements on the west door. Prostitutes solicited near the choir, looking for customers. Gentlemen walked up and down showing off their clothes and listening for gossip; some smoked; some did a business deal. Thieves lurked and picked pockets, or looked for tourists and tricked them out of money. Robert Greene, Wilson’s contemporary, wrote stories about cony-catching (conning visitors) in St Paul’s. Its choir boys were famous both for singing and acting; Paul’s Boys were a phenomenon theatrically from 1557 to 1606, with some gaps when playing in the church was halted.

bar

The part of the courtroom directly in front of the judge, whose bench is raised up; the desks of barristers and court recorders mark off the space, but a cordon or brail railing is not necessary to keep the area clear. The jury sits on either side of the judge, also protected within the bar. All witnesses are kept outside until they are called in before the bar. Others not directly associated with the case are seated in a gallery above but well back from the judge and bar area. See Leslie Thomson’s article, As it hath been publiquely played: The Stage Directions and Original Staging of The Three Ladies of London for a discussion of this virtual prop in scene 17. Using something that approximates a bar as a prop, Thomson argues, would have enhanced the sense that serious crimes were being judged in a contemporary context.

adultery with Mercadorus

Lucre instructs Conscience to keep a house where Lucre can resort With familiar friends to pass the time in sport, but the play never provides overt evidence in dialogue that she has sexual relationships with Mercadorus. Mercadorus professes love frequently (as an inferior might to a social superior and employer), but the play does not indicate the degree to which Lucre stoops to reciprocate. Allegorically, the charge substantiates that merchants and lawyers have an insatiable lust for money, but the burden falls perhaps unfairly onto money itself as a source of sexual corruption.

Creticus, the lawyer

Creticus the lawyer may be the unnamed lawyer character who enters in at 3. This unnammed lawyer character wishes to plead for Lucre (see speech at 3). That lawyer, however, never meets Lucre on stage so this second charge of adultery is even harder to substantiate than the first charge.

robbery of Mercadorus

Fraud tells Tom Beggar and Wily Will that it is my lady’s pleasure that the three of them should rob Mercadorus as he returns from Turkey and share in the profits, but we never see Lucre give the order herself 13. It is conceivable that Lucre may have given this order, but it is equally conceivable that Fraud might have framed her, or that his allegorical devotion to her inspired him with the idea to rob Mercadorus for personal gain.

consenting to … Hospitality

Conscience confronts Lucre about her servant, Usury’s, murder of Hospitality and Lucre’s response is to send Dissimulation to help Usury escape capture for the crime and offers to bribe the justices if they will look the other way 8. Lucre does not explicitly order or consent in advance to the murder on stage, but could be criminally liable of aiding and abetting after the fact.

may shame

Be ashamed.

In despite … teeth

Despite the forces opposing me, in contempt or defiance of my enemies (OED despite n. 5. Phr in despite of).

Lucre, always a fighter, vividly disdains those people who are chewing away at her reputation by backbiting or libelous gossip, and she spits on them.

gall

Gallbladder (causing bitterness of spirit).

currish

Snarling, base (contemptuous comparison to a snappish dog).

carls

Churls; persons of low birth or rude manners (OED carls n.1 def. 2a).

sacred

Kermode proposes that this should be secret, which makes contextual sense, though it appears as sacred in both Q1 and Q2 (Kermode 161). Lucre’s accusers are not all identified in the text of the scene, so they do remain secret. With sacred though, Wilson suggests perhaps that what brings Lucre down finally is a higher, sacred power that calls her to account when up until this point in the play she has been uncontainable and unshameable. With sacred foe, here, Lucre might address Conscience, who is asked to answer next for charges that implicate Lucre. Or she might address Justice Nemo, imbuing him with powers higher than those of a regular assize court. Or, Lucre may use sacred sarcastically to call out the hypocrisy of the court for punishing her while the actual robbers and murderers, Fraud and Usury, escape without consequence. Lucre’s secret foes may well be her corrupt subordinates, or her subordinates’ subordinates, who gave testimony under Diligence’s torture where Simplicity was unable. Or, as a third alternative for the secret/sacred foes, Lucre might be calling out the people of London (and/or the audience, especially if they have been heckling or jeering at Lucre) for allowing her to rise to such power only to turn and pretend hypocritically at holiness now that she has lost her power. An actor playing Lucre has many options for how to direct sacred towards a legitimate or an ironic target as they prepare to vow revenge in the next line.

bawd

Person who facilitates clandestine extramarital sex or maintains a brothel.

put her aside

Move her away.

singleness

Straightforwardness, integrity (OED singleness n. 1a.). Kermode suggests also alone, speaking for yourself(i.e. without Lucre’s influence) (161 n.39).

As Kermode notes, and based on the meaning of bewray, the Judge might simply mean that now that Conscience is alone, she will testify against Lucre more freely (161 n.39). The OED records an early modern instance of the word singleness meaning sincerity, straightforwardness, honesty, integrity (OED singleness n. 1.a). However, the biblical context for this spelling of the word creates an interesting thematic echo in the scene. OED lists singleness in this specific sense in one specific verse of the Tyndale Bible, 2 Cor. 9.11. This section of Corinthians advises Christians to act generously rather than out of personal interest because generosity is what begets abundance and richness for everyone. 2 Cor. 9, echoed perhaps in this specific and uncommon sixteenth-century word choice, provides a further thematic cue to the audience to reject Lucre and redeem their own consciences, even though the character of Conscience herself no longer possesses the singleness the Judge presumes of her. Interestingly, Conscience’s earlier sermon-like speech to the audience following her broom-selling song in scene 10 also makes reference to Paul in a similar context in line 35: Paul calleth them thieves that do not give the needy of their store in a passage that has no single clear referent, but closely resembles 2 Cor. 8–9 in its message. The word choice provides both a simple meaning, and perhaps a hidden reminder that it is the greedy, and not the needy, who should be judged as thieves and criminals.

bewray

Divulge or reveal (secrets) prejudicially (OED bewray v. def. 3).

pelf

Booty, treasure (see Sc1 Sp3).

amiss

In error.

malapert

Presumptuous or saucy person.

LEME: Thomas Cooper, Thesaurus Linguae Romanae et Britannicae (1584) associates this word with lascivious or ribald behavior: Wantonnesse: […] toying: ribandous iesting (Thomas, Lasciuia).

in a maze

In amazement.

to study

To ponder or deliberate.

on this wise

In this way.

Let Lucre … Love

An instruction for the actor playing Lucre to change into Love’s costume so that she can return and play Love.

See Helen Ostovich’s article, Doubling Love.

infected

For discussions of Conscience’s spotting and infection in the play, see Andrea Stevens’ article The Spotting of Lady Conscience in The Three Ladies of London, Duncan Salkeld’s article Ladies of London: Prostitution in the 1570s, and Matthew Steggle’s article The Monster in the Corner: Plague and The Three Ladies of London.

Oh.

Expression of concern.

This is a good performance moment for the judge, as his pause would have to make him express something more: regret for Conscience’s acts? Being stunned at the problem of what is to cure or replace the work of Conscience? nervousness at being unable to address the degree of guilt or innocence in Conscience? His questions that follow the pause are pertinent to the whole play: is Conscience defeated, dead at heart with the betrayals she has witnessed, or will she find the compassion for others that makes her work so vital to human life, recuperating the spirit from its own failures?

cankered

Infected with evil, depraved.

pure Love,

As Kermode notes, the punctuation variations between Q2’s Thou wast pure Loue, and Q1’s Thou wast pure (Loue) change the sense of the line (163 n.86). Kermode’s punctuation, Thou wast pure, Love, is aimed to follow Q1’s equivalent parentheses around ‘Loveʼ and address love as a realistic entity who is being criticized for losing her purity. Q2’s alteration to ‘pure Love,ʼ suggests the ongoing view of ‘pure loveʼ as a moral concept that has been tainted(Kermode 163 n.86). This edition retains Q2’s alteration to highlight a specific dimension of the Q2 text. Nemo’s judgment fails to ponder poverty and human suffering in any serious and engaged way, and so fittingly here he sees Love as pure concept without recognizing the play’s conceit that she is a human woman who requires basic necessities (which are not exactly prodigal expenses) to survive.

Bolstering

Maintaining or upholding, in a pejorative sense.

confounded

Utterly defeated.

worm of Conscience

grief or passion that preys stealthily on a man’s heart or torments his conscience (like a worm in a dead body or a maggot in food); esp. the gnawing pain of remorse (OED worm n. def 11.a)

This expression also appears in Shakespeare’s Richard III (R3 1.3.220), written between 1592–4, and the first quarto was published in 1597.

Care

Mental suffering, anxiety.

the day … session

The date on which the court, meeting regularly to adjudicate a range of crimes from petty theft to murder, will decide the kind and duration of Conscience’s sentence. The period between the end of a trial and the sentence allows for time to ensure the punishment meets the crime.

the best … amend

Hope for improvement is always available—although this is not what the judge said about Lucre. Still, this mild refusal to give a firm sentence to Conscience suggests it is the result of his Oh. moment.

unsatiate

Insatiable.

vanishing earthly treasure

Evanescence and pointlessness of piling up money, because you cannot take it with you.

covetousness

The Judge does not name Lucre here but covetousness, which is the inordinate and culpable desire of possessing that which belongs to another or to which one has no right (OED covetousness n. def 2.). Covetousness is often linked to the mortal sin of greed/avarice, but the next line links it to the mortal sin of lust.

wresting

Struggling, twisting and turning awry, spiritually or rhetorically engaged.

The trope suggested by that violent wresting gives the metaphysical battles between virtues and vices within a human soul a physical human dimension. The phrasing of the line suggests, though, not so much that covetousness battles conscience, but that because of covetousness, conscience is always in a state of twisting and turning, struggling against all the forces that regularly assail it.

Collations

Adopted reading (This Edition):

honor’s

Wilson 1584:

honors

Wilson 1592:

Honors

Adopted reading (This Edition):

racks

Wilson 1584:

Rackes

Wilson 1592:

rackes

Adopted reading (This Edition):

taste

Wilson 1584:

tast

Wilson 1592:

taste

Adopted reading (This Edition):

shield and sword

Wilson 1584:

sword and shield

Wilson 1592:

shield and sword

Adopted reading (This Edition):

hills to climb

Wilson 1584:

hills to climbe

Wilson 1592:

hils to clime

Adopted reading (This Edition):

stall

Wilson 1584:

stuffe

Wilson 1592:

wares

Adopted reading (This Edition):

her and Usury shall quite be cast away

Wilson 1584:

her to haue a vewe

Wilson 1592:

of her to haue view

Adopted reading (This Edition):

neighbor

Wilson 1584:

Jury

Wilson 1592:

Iurie

Adopted reading (This Edition):

From Jewry—nay the Pagan himself

Wilson 1584:

They forsake mother, Prince, Countrey, Religion, kiffe and kinne,

Wilson 1592:

They forsake mother, prince, countrey, religion, kiffe and kin

Adopted reading (This Edition):

city, town, and country

Wilson 1584:

Citie, Towne, and Cuntry

Wilson 1592:

citie, towne and countrie

Adopted reading (This Edition):

the sister with her brother

Wilson 1584:

the sister with his brother

Wilson 1592:

the sister with her brother

Adopted reading (This Edition):

friend and friend, one with another

Wilson 1584:

Friend and friend one with an other

Wilson 1592:

friend and friend, one with another

Adopted reading (This Edition):

range throughout

Wilson 1584:

range thorowout

Wilson 1592:

raunge throughout

Adopted reading (This Edition):

But forget my baseness

Wilson 1584:

But I forget my businesse

Wilson 1592:

But forget my basenes

Adopted reading (This Edition):

They say there is preferment

Wilson 1584:

They say that there is preferment

Wilson 1592:

They say there is preferment

Adopted reading (This Edition):

comporknance

Wilson 1584:

comporknaunce

Wilson 1592:

comporknance

Adopted reading (This Edition):

ruffian

Wilson 1584:

Ruffian

Wilson 1592:

Ruffin

Adopted reading (This Edition):

Would it be better for thee?

Wilson 1584:

would it be the better for thee?

Wilson 1592:

would it be better for thee?

Adopted reading (This Edition):

flaunt

Wilson 1584:

haunt

Wilson 1592:

flaunt

Adopted reading (This Edition):

lie in the lash

Wilson 1584:

lye in the lashe

Wilson 1592:

lie in the lash

Adopted reading (This Edition):

What care I to serve the Devil

Wilson 1584:

I care not whome I serue (the Deuill)

Wilson 1592:

What I care I to serue to Deuill

Adopted reading (This Edition):

boniacion

Wilson 1584:

baniacion

Wilson 1592:

boniacion

Adopted reading (This Edition):

dwelt

Wilson 1584:

dwelledst

Wilson 1592:

dwelt

Adopted reading (This Edition):

thou wouldst bring reckoning to thy guests

Wilson 1584:

though shouldst bring reckoning to the guestes

Wilson 1592:

thou wouldst bring reckoning to thy gesse

Adopted reading (This Edition):

Thou wouldst say twice so much

Wilson 1584:

Thou would, but twise so much

Wilson 1592:

though wouldst say twise so much

Adopted reading (This Edition):

And wouldst tell the rider

Wilson 1584:

Then thou wouldst tell the rider

Wilson 1592:

And wouldst tell the rider

Adopted reading (This Edition):

So the man would say

Wilson 1584:

Then the man would say

Wilson 1592:

So the man would say

Adopted reading (This Edition):

cozening

Wilson 1584:

coosening

Wilson 1592:

coosning

Adopted reading (This Edition):

thou wilt be proud

Wilson 1584:

wilt not be proude

Wilson 1592:

thou wilt be proud

Adopted reading (This Edition):

I think none of you all believe him

Wilson 1584:

I thinke none of all you wil beleue him

Wilson 1592:

I thinke none of you al beleeue him

Adopted reading (This Edition):

but see

Wilson 1584:

but let

Wilson 1592:

but see

Adopted reading (This Edition):

Faith

Wilson 1584:

Tut

Wilson 1592:

Faith

Adopted reading (This Edition):

so let that pass

Wilson 1584:

but let that passe

Wilson 1592:

so let that passe

Adopted reading (This Edition):

In faith, have with you, then

Wilson 1584:

in faith haue with you then

Wilson 1592:

in faith haue with you than

Adopted reading (This Edition):

believe thou art an honest man

Wilson 1584:

beleue, that thou art an honest man

Wilson 1592:

beleeue thou are an honest man

Adopted reading (This Edition):

Yet dost nothing but cog, lie, and foist

Wilson 1584:

Thou doest nothing but cog, lie, and foist

Wilson 1592:

yet dost nothing but cog, lye, and foyst

Adopted reading (This Edition):

piece of work

Wilson 1584:

peece of worke

Wilson 1592:

peece of worke

Adopted reading (This Edition):

But I think if it had been but a shilling it had been lost.

Wilson 1584:

But I thinke if he had had but a shilling it had bene lost:

Wilson 1592:

But I thinke if it had been but a shilling it had been lost:

Adopted reading (This Edition):

and undid me quite

Wilson 1584:

and undoed me quite

Wilson 1592:

and undid my quite

Adopted reading (This Edition):

Simon-ay, per se, ay

Wilson 1584:

Symony I yse I

Wilson 1592:

Simon I per se I

Adopted reading (This Edition):

speaks

Wilson 1584:

speaketh

Wilson 1592:

speakes

Adopted reading (This Edition):

your beck

Wilson 1584:

your beck

Wilson 1592:

our becke

Adopted reading (This Edition):

for fear of a check

Wilson 1584:

for feare of your check

Wilson 1592:

for feare of a checke

Adopted reading (This Edition):

then cease off your talking

Wilson 1584:

then sease of your talking

Wilson 1592:

then cease off your talking

Adopted reading (This Edition):

God will plague your wicked practices

Wilson 1584:

God will plague you for your wicked practises

Wilson 1592:

God will plague your wicked practises

Adopted reading (This Edition):

your lives so far amiss

Wilson 1584:

your vilde liues so amisse

Wilson 1592:

your liues so farre amisse

Adopted reading (This Edition):

in your hearts there lurk

Wilson 1584:

in the heartes of you lurkes

Wilson 1592:

in your hearts there lurkes

Adopted reading (This Edition):

dare you offend his heavenly majesty

Wilson 1584:

dare you to offend his heauenly maiesstie

Wilson 1592:

dare you offend his heauenly maiestie

Adopted reading (This Edition):

I will not speak to her

Wilson 1584:

Let vs not speake to her

Wilson 1592:

I will not speake to her

Adopted reading (This Edition):

rob

Wilson 1584:

Robbe

Wilson 1592:

robbe

Adopted reading (This Edition):

amend your lives so far amiss

Wilson 1584:

your vilde liues so amisse

Wilson 1592:

amend your liues so farre amisse

Adopted reading (This Edition):

in your hearts there lurk

Wilson 1584:

in the heartes of you lurkes

Wilson 1592:

in your hearts there lurkes

Adopted reading (This Edition):

you offend

Wilson 1584:

you to offend

Wilson 1592:

you offend

Adopted reading (This Edition):

I will not

Wilson 1584:

Let vs not

Wilson 1592:

I will not

Adopted reading (This Edition):

indeed

Wilson 1584:

in deed

Wilson 1592:

indeed

Adopted reading (This Edition):

others will

Wilson 1584:

other will

Wilson 1592:

others will

Adopted reading (This Edition):

Yes, Simplicity

Wilson 1584:

I Simplicitie

Wilson 1592:

Yes simplicitie

Adopted reading (This Edition):

Yea, my good man, indeed.

Wilson 1584:

I my good man indeede

Wilson 1592:

Yea my good man indeed.

Adopted reading (This Edition):

goodman, and swap up a wedding with speed

Wilson 1584:

good man, and swap vp a wedding with good speed

Wilson 1592:

goodman, and swap vp a wedding with speed

Adopted reading (This Edition):

Wilson 1584:

thee

Wilson 1592:

Adopted reading (This Edition):

Yes, I’ll serve ye

Wilson 1584:

Yes I will serueye

Wilson 1592:

Yes ile serue ye

Adopted reading (This Edition):

will you walk home from this

Wilson 1584:

pleaseth you to walke home from this

Wilson 1592:

wil you walk home from this

Adopted reading (This Edition):

likes

Wilson 1584:

pleaseth

Wilson 1592:

likes

Adopted reading (This Edition):

on a row

Wilson 1584:

in a rowe

Wilson 1592:

on a rowe

Adopted reading (This Edition):

Iwis, do’e thrust out mine eyes

Wilson 1584:

I wous doe thrust out my eyes

Wilson 1592:

I wis, doe thrust out mine eyes

Adopted reading (This Edition):

gentleman

Wilson 1584:

Gentlemen

Wilson 1592:

Gentleman

Adopted reading (This Edition):

at door

Wilson 1584:

of dore

Wilson 1592:

at dore

Adopted reading (This Edition):

than these

Wilson 1584:

then these

Wilson 1592:

than these

Adopted reading (This Edition):

I have shifted hitherto

Wilson 1584:

I haue shift it hitherto

Wilson 1592:

I haue shifted hitherto

Adopted reading (This Edition):

heart to make a hangman of

Wilson 1584:

heart to make a hangman off

Wilson 1592:

hart to make a hangman of

Adopted reading (This Edition):

all the gods of good fellowship kiss ye—I would say bless ye

Wilson 1584:

al y Gods […] blisse ye

Wilson 1592:

all the Gods […] blesse ye

Adopted reading (This Edition):

Where each one

Wilson 1584:

Where ethe one

Wilson 1592:

Where each one

Adopted reading (This Edition):

you and the country, she being dead,

Wilson 1584:

you, the country, and she being dead

Wilson 1592:

you and the country, she being dead,

Adopted reading (This Edition):

and doubt not but to live here

Wilson 1584:

and I doubt not but that you shal liue

Wilson 1592:

and doubt not but to liue here

Adopted reading (This Edition):

And pleasanter too. But whence came you, Simony? Tell me.

Wilson 1584:

I and pleasaunter too, if it may be, but Simonie from whence came ye, tell me.

Wilson 1592:

and pleasanter too: but whence came you Symonie, tell me.

Adopted reading (This Edition):

religious city

Wilson 1584:

Religious Cittie

Wilson 1592:

religious citie

Adopted reading (This Edition):

monks and friars made a banquet, whereto

Wilson 1584:

Monkes and Fryers […] whereunto

Wilson 1592:

monkes and friers […] whereto

Adopted reading (This Edition):

other English

Wilson 1584:

other some English

Wilson 1592:

other English

Adopted reading (This Edition):

and was brought thither

Wilson 1584:

and brought thether

Wilson 1592:

and was brought thether

Adopted reading (This Edition):

friars and monks

Wilson 1584:

Friars and Monkes

Wilson 1592:

friars and monkes

Adopted reading (This Edition):

Englishmen gave ear to; then, they flattered a little too much

Wilson 1584:

English Merchantes gaue eare to: then they flattered a little too much

Wilson 1592:

Englishmen gaue ease too, then they flattered a little too much

Adopted reading (This Edition):

As English merchants can do

Wilson 1584:

As English me can do

Wilson 1592:

as English merchants can do

Adopted reading (This Edition):

deal

Wilson 1584:

deale

Wilson 1592:

beate

Adopted reading (This Edition):

We will

Wilson 1584:

I will

Wilson 1592:

we will

Adopted reading (This Edition):

though we appoint sundry offices where now ye are

Wilson 1584:

though I appoint […] now you are

Wilson 1592:

though we appoint […] now ye are

Adopted reading (This Edition):

we mean

Wilson 1584:

I meane

Wilson 1592:

we meane

Adopted reading (This Edition):

the house

Wilson 1584:

my house

Wilson 1592:

the house

Adopted reading (This Edition):

myself

Wilson 1584:

I my selfe

Wilson 1592:

my selfe

Adopted reading (This Edition):

see

Wilson 1584:

pray

Wilson 1592:

see

Adopted reading (This Edition):

Doubt not, fair lady

Wilson 1584:

I warrant you Ladie

Wilson 1592:

Doubt no faire Ladie

Adopted reading (This Edition):

anglers

Wilson 1584:

Anglers

Wilson 1592:

anglers

Adopted reading (This Edition):

Certainly it is true

Wilson 1584:

I perceaue it true

Wilson 1592:

Certainly it is true

Adopted reading (This Edition):

And seeing we are so well settled in this country,

Wilson 1584:

And sith I am […] Countrey

Wilson 1592:

And seeing we are […] countrey

Adopted reading (This Edition):

Rich and poor shall be pinched whosoever come to me.

Wilson 1584:

I wil pinche al, riche and poore that come to me.

Wilson 1592:

Rich and poore shall be pincht whosoeuer come to me.

Adopted reading (This Edition):

Sirrah, being at Rome, and dwelling in the friary,

Wilson 1584:

And sirra when I was at Rome, and dwelt in the Friarie,

Wilson 1592:

Sirra, being at Rome, and dwelling in the Friarie,

Adopted reading (This Edition):

that

Wilson 1584:

which

Wilson 1592:

that

Adopted reading (This Edition):

thirty-three years

Wilson 1584:

26 yeares

Wilson 1592:

33 years

Adopted reading (This Edition):

But England

Wilson 1584:

But I thinke England

Wilson 1592:

But England

Adopted reading (This Edition):

Had Friar

Wilson 1584:

If Frier

Wilson 1592:

Had frier

Adopted reading (This Edition):

laws

Wilson 1584:

Lawes

Wilson 1592:

lawes

Adopted reading (This Edition):

And for the most part,

Wilson 1584:

So for the most part

Wilson 1592:

and for the most part

Adopted reading (This Edition):

Me judge in my mind-a dat me be not very far

Wilson 1584:

I iudge in my minde a dat me be not vare farr

Wilson 1592:

Me iudge in my minda dat me be not verie far

Adopted reading (This Edition):

From de place

Wilson 1584:

From da place

Wilson 1592:

from de place

Adopted reading (This Edition):

But here come un-e shentleman-a, so he do.

Wilson 1584:

But he come an shently mane a soe he doe.

Wilson 1592:

But here come one shentle mana so he doo.

Adopted reading (This Edition):

Pray ye heartily, signore, let-a me speak-a you,

Wilson 1584:

Shentlman, I praie you heartily let me speake you,

Wilson 1592:

Pray ye heartely signion leta me speaka you,

Adopted reading (This Edition):

Pray ye, do ye know un shentleman dat Meshier Davy do call?

Wilson 1584:

Pray you doe you not know a shentleman dat Maister Dauy doe call?

Wilson 1592:

Pray ye do ye know vn shentleman dat meshier Dauie doo call?

Adopted reading (This Edition):

Yes, sir, myself am he,

Wilson 1584:

Yes mary doe I, I am he,

Wilson 1592:

Yes sir, my selfe am he,

Adopted reading (This Edition):

Good-a my friend Meshier Davy, help-a me, pray ye heartily,

Wilson 1584:

Gooda my frend Maister Dauy, help me I pray you hartily,

Wilson 1592:

Good a my friend meshier Dauie, helpa my pray ye heartely,

Adopted reading (This Edition):

For have-a some acquaintance-a

Wilson 1584:

For a summa acquaintaunce

Wilson 1592:

Or haue sum acquaintance

Adopted reading (This Edition):

Ay, good-a my friend, ax-a me

Wilson 1584:

A good a my frend doe ara me

Wilson 1592:

I good a my friend ara me

Adopted reading (This Edition):

de world

Wilson 1584:

the world

Wilson 1592:

de world

Adopted reading (This Edition):

bell-metal

Wilson 1584:

Belmettell

Wilson 1592:

bell mettell

Adopted reading (This Edition):

into England

Wilson 1584:

to Englande

Wilson 1592:

into England

Adopted reading (This Edition):

other

Wilson 1584:

oder

Wilson 1592:

other

Adopted reading (This Edition):

that by act

Wilson 1584:

they by acte

Wilson 1592:

that by acte

Adopted reading (This Edition):

as there is

Wilson 1584:

as there are

Wilson 1592:

as there is

Adopted reading (This Edition):

Signor

Wilson 1584:

Senior

Wilson 1592:

senior

Adopted reading (This Edition):

bribes have welcome been

Wilson 1584:

bribes haue beene

Wilson 1592:

bribes haue welcome beene

Adopted reading (This Edition):

Simony, and Usury

Wilson 1584:

Usurie, and Symony

Wilson 1592:

Symonie and Usurie

Adopted reading (This Edition):

I’ll consider hereafter

Wilson 1584:

ile consider it hereafter

Wilson 1592:

ile consider hereafter

Adopted reading (This Edition):

with Conscience

Wilson 1584:

with good Conscience

Wilson 1592:

with Conscience

Adopted reading (This Edition):

my estate

Wilson 1584:

my poore estate

Wilson 1592:

my estate

Adopted reading (This Edition):

Gentlemen

Wilson 1584:

Gentlemen

Wilson 1592:

Gentleman

Adopted reading (This Edition):

attorney of the law and pleader at the bar,

Wilson 1584:

Attorney of the Law, and pleeder at the Bar,

Wilson 1592:

attorney of the law and pleader at the bar,

Adopted reading (This Edition):

had many clients

Wilson 1584:

had manie Clyants

Wilson 1592:

had in my Clients

Adopted reading (This Edition):

in law

Wilson 1584:

in the Law

Wilson 1592:

in Law

Adopted reading (This Edition):

not worth

Wilson 1584:

are not worth

Wilson 1592:

not worth

Adopted reading (This Edition):

bar

Wilson 1584:

Bar

Wilson 1592:

bar

Adopted reading (This Edition):

indeed!

Wilson 1584:

I thinke so indeed,

Wilson 1592:

indeed

Adopted reading (This Edition):

do something for me

Wilson 1584:

do some what for me

Wilson 1592:

do somthing for me

Adopted reading (This Edition):

What wouldst thou have me do for thee, canst tell that?

Wilson 1584:

What wouldst for me do for thee canst tell that?

Wilson 1592:

What wouldst thou haue me do for thee canst tell that?

Adopted reading (This Edition):

then, I marvel

Wilson 1584:

I maruell then

Wilson 1592:

then I maruell

Adopted reading (This Edition):

I thought thou

Wilson 1584:

I had thought thou

Wilson 1592:

I thought thou

Adopted reading (This Edition):

But this it is

Wilson 1584:

But this is it

Wilson 1592:

But this it is

Adopted reading (This Edition):

benefice

Wilson 1584:

Benefice

Wilson 1592:

benefice

Adopted reading (This Edition):

I came from Oxford, but in Cambridge I studied late;

Wilson 1584:

I came from Oxford: but in Cambridge I,

Wilson 1592:

I came from Oxford, but in Cambridge I studied late,

Adopted reading (This Edition):

nothing set by

Wilson 1584:

nathing at all set by

Wilson 1592:

nothing set by

Adopted reading (This Edition):

he that may

Wilson 1584:

he y may

Wilson 1592:

he that may

Adopted reading (This Edition):

or some other

Wilson 1584:

or els some other

Wilson 1592:

or some other

Adopted reading (This Edition):

your head

Wilson 1584:

our heades

Wilson 1592:

your head

Adopted reading (This Edition):

benefice

Wilson 1584:

Benefice

Wilson 1592:

benefice

Adopted reading (This Edition):

But, if it please you, so much in her behalf I’ll do.

Wilson 1584:

but if you please so much in her behalf I wil doo.

Wilson 1592:

but if it please you, so much in her be-halfe ile doo.

Adopted reading (This Edition):

I think you’ll make me serve

Wilson 1584:

I thinke I shall serue

Wilson 1592:

I thinke youle make me serue

Adopted reading (This Edition):

No, I’ll warrant thee.

Wilson 1584:

No I warrant thee.

Wilson 1592:

No ile warrant thee.

Adopted reading (This Edition):

and prosperous

Wilson 1584:

and I wish them prosperous

Wilson 1592:

and prosperous

Adopted reading (This Edition):

Thanks, my good friend Hospitality.

Wilson 1584:

I geue you thankes my good freend Hosspitalitie.

Wilson 1592:

Thankes my good friend Hospitalitie,

Adopted reading (This Edition):

But tell me, sir,

Wilson 1584:

But I pray you sir

Wilson 1592:

But tell me sir

Adopted reading (This Edition):

none but Lady Love

Wilson 1584:

none by Lady Loue

Wilson 1592:

none but lady Loue

Adopted reading (This Edition):

of clock

Wilson 1584:

a clocke

Wilson 1592:

of clocke

Adopted reading (This Edition):

What if I should come to dinner—is there any good cheer?

Wilson 1584:

What and I should come to dinner, hast thou anie good cheere?

Wilson 1592:

What if I should come to dinner, is there any good cheare?

Adopted reading (This Edition):

There’s bread and beer, one joint of meat, and welcome thy best fare.

Wilson 1584:

I haue bread and beare, one ioint of meat, and welcome they best fare.

Wilson 1592:

Theres bread and beare, one ioynt of meat, and welcome they best fare.

Adopted reading (This Edition):

called

Wilson 1584:

called

Wilson 1592:

cald

Adopted reading (This Edition):

Faith, an thou hast

Wilson 1584:

Ile tell thee, if thou hast

Wilson 1592:

Faith and thou hast

Adopted reading (This Edition):

Such as there is I’ll give you with a free and willing heart.

Wilson 1584:

Such as I haue Ile giue ou with a free and willing hart.

Wilson 1592:

Such as there is ile giue you with a free and willing hart.

Adopted reading (This Edition):

Faith, he might have richer fellows to take his part,

Wilson 1584:

Faith he might haue richer fellowes, then we to take his part,

Wilson 1592:

Faith he might haue richer fellowes to take his part,

Adopted reading (This Edition):

Here be they that will eat with the proudest of them.

Wilson 1584:

Here be them will eate with the proudest of them.

Wilson 1592:

Here be they that will eate with the proudest of them.

Adopted reading (This Edition):

For my mother said I could eat as much as five men.

Wilson 1584:

I am sure my mother said I could eate so much as fiue men.

Wilson 1592:

For me mother said I could eate as much as fiue men.

Adopted reading (This Edition):

Nay, I am sure the gift of eating is given to me,

Wilson 1584:

Nay I haue a gift for eating I tell yee.

Wilson 1592:

Nay I am sure the gift of eating is giuen to me,

Adopted reading (This Edition):

But yonder comes a knave, my Lady Lucre’s cogging man.

Wilson 1584:

But I haue spide a knaue, my Ladie Lucars cogging man,

Wilson 1592:

But yonder comes a knaue, my lady Lucars cogging man.

Adopted reading (This Edition):

Give me ’em, then

Wilson 1584:

Geue me am

Wilson 1592:

Giue me aim then

Adopted reading (This Edition):

kin

Wilson 1584:

kinne

Wilson 1592:

kin

Adopted reading (This Edition):

Faith, cousin, he’s such a testern and semblation knave,

Wilson 1584:

Faith coossen hes such a testren and proud sembling knaue,

Wilson 1592:

Faith coossen, hes such a testern and semblation knaue,

Adopted reading (This Edition):

Yes, by Saint Mary.

Wilson 1584:

I by Saint Marie.

Wilson 1592:

Yes by saint Marie.

Adopted reading (This Edition):

And bestow some spiritual living on you, parsonage or benefice,

Wilson 1584:

In bestowing some spirituall liuing on ye, parsonage, or Benefice,

Wilson 1592:

And bestow some spirituall liuing on you, parsonage, or benefice,

Adopted reading (This Edition):

For you stand greatly in need, as appears by this.

Wilson 1584:

It seemes it stands greatly in neede, as appeeres by this.

Wilson 1592:

For you stand greatly in need, as appeares by this.

Adopted reading (This Edition):

Lady, I shall never get his goodwill, for want of ability,

Wilson 1584:

Ladie, I shall neuer get his good will, because I want abilitie,

Wilson 1592:

Lady, I shall neuer get his goodwill for want of abilitie,

Adopted reading (This Edition):

For he will do nothing except one bring money,

Wilson 1584:

For he will do nothing except I bring monie.

Wilson 1592:

For he will do nothing except one bring money.

Adopted reading (This Edition):

Thou sayest true indeed. Draw near, Sincerity.

Wilson 1584:

Indeed thou saiest true: Drawe neere Sinceritie,

Wilson 1592:

Thou saiest true indeed: draw neare Sinceritie,

Adopted reading (This Edition):

The parsonage of Saint Nihil I’ll give thee to pleasure them withal,

Wilson 1584:

Ile giue thee Parsonage of Nihil, to pleasure them withall,

Wilson 1592:

The parsonage of saint Nihil ile giue thee to pleasure them withall,

Adopted reading (This Edition):

But of force must leave off, seeing how vain it is.

Wilson 1584:

I must of force leaue off, for I see how vaine it is.

Wilson 1592:

But of force must leaue off, s{oe}ing how vaine it is:

Adopted reading (This Edition):

Nor boots it Sincerity to look for relief.

Wilson 1584:

It bootes not Sinceritie to sue for releefe,

Wilson 1592:

Nor bootes it Sinceritie to looke for reliefe.

Adopted reading (This Edition):

Then how can I speed well in this kind of case?

Wilson 1584:

Then how can I speede well in this heauie case.

Wilson 1592:

then how can I speed well in this kind of case?

Adopted reading (This Edition):

And no man bid me to dinner—when shall I dine?

Wilson 1584:

If no man bid me to dinner, when shall I dine?

Wilson 1592:

And no man bid me to dinner, when shall I dine?

Adopted reading (This Edition):

Wherefore the relief had, and to be had, is small.

Wilson 1584:

Wherefore the reliefe I haue had, and shall haue, is small,

Wilson 1592:

Wherefore the reliefe had and to be had is small,

Adopted reading (This Edition):

Why, his name was Nemo, and Nemo hath no being.

Wilson 1584:

Why his name was Nemo, and Nemo hath no being.

Wilson 1592:

Why his name was Nemo and Nemo hath not beeing.

Adopted reading (This Edition):

Why then I will boldly enter.

Wilson 1584:

Why then I will be bould to enter.

Wilson 1592:

Why then I will boldly enter.

Adopted reading (This Edition):

What a fool was I to let it so reasonable?

Wilson 1584:

What a foole was I, it repentes me I haue let it so reasonable,

Wilson 1592:

What a foole was I to let it so reasonable?

Adopted reading (This Edition):

But-a me take-a your part so much against a scall shurl called Hospitality,

Wilson 1584:

But a me take a your part so much against a scalde olde chirle called Hospitalitie:

Wilson 1592:

But a me take a your part so much against a seal shurle cald Hospitalitie:

Adopted reading (This Edition):

Enter Simony, and Peter Pleaseman, like a priest.

Wilson 1584:

Enter Symony and Peter please man like a Parson.

Wilson 1592:

Enter Symonie, and Peter Pleaseman like a Priest.

Adopted reading (This Edition):

And, sir, they fell out marvelously about you.

Wilson 1584:

And sir they fell out meruailously together about you:

Wilson 1592:

And sir they fell out maruellously about you:

Adopted reading (This Edition):

Was maintained by you, and upholden very worshipfully.

Wilson 1584:

Was vpholden by you and maintained very worshipfully:

Wilson 1592:

Was maintained by you, and vpholden very worshipfully.

Adopted reading (This Edition):

So, sir, Presco, he would not grant that in any case,

Wilson 1584:

So sir, Presco he woulde not graunt that in no case,

Wilson 1592:

So sir, Presco he would not graunt that in any case,

Adopted reading (This Edition):

You are a Protestant now, and I think to that now will grant.

Wilson 1584:

You are a Protestant now, and I thinke to that you will graunt.

Wilson 1592:

You are a Protestant now, and I thinke to that now wil grant

Adopted reading (This Edition):

but if I help you to such great preferment,

Wilson 1584:

but if I helpe you to suche a great prefarment,

Wilson 1592:

but if I helpe you to such great preferment,

Adopted reading (This Edition):

Yea, sir, and reason good,

Wilson 1584:

I sir and reason good

Wilson 1592:

Yea sir, and reason good,

Adopted reading (This Edition):

Sir Peter Pleaseman, come with me,

Wilson 1584:

Sir Peter pleaseman, come in with me.

Wilson 1592:

sir Peter pleasman come with me,

Adopted reading (This Edition):

But see how you are deceived—for well I wot,

Wilson 1584:

I thought so, but you are deceiued: for I wot what I wot.

Wilson 1592:

but see how you are deceiued, for well I wot,

Adopted reading (This Edition):

I am neither going to the butcher’s to buy mutton, veal, nor beef,

Wilson 1584:

I am neither going to the Butchers to buy Ueale, Mutton, or Beefe,

Wilson 1592:

I am neither going to the Butchers to buy mutton, veale nor beefe,

Adopted reading (This Edition):

Trust him not, sirs, for he’ll flatter boniacion and sore,

Wilson 1584:

Ile tell ye sirs, trust him not, for hele flatter bonacion and sore,

Wilson 1592:

Trust him not sirs, for hele flatter bonacion and fore,

Adopted reading (This Edition):

Canst tell, or wouldst know whither with this parliament I go?

Wilson 1584:

Canst tell, or wouldst thou knowe whither with this parlament I go?

Wilson 1592:

Canst tell, or wouldst know whither with this parlament I go?

Adopted reading (This Edition):

Now? God’s blessing on his heart! Why, ’twas time he were dead.

Wilson 1584:

Now Gods blessing on his hart, why twas time that he was dead,

Wilson 1592:

Now Gods blessing on his heart, why twas time he were dead,

Adopted reading (This Edition):

But he did keep my mouth well enough from that.

Wilson 1584:

But I warrant ye he did keepe my mouth well enough from that.

Wilson 1592:

But he did keepe my mouth well eough from that.

Adopted reading (This Edition):

To that kind of lying I should give a good say

Wilson 1584:

I know to that kind of liuing I can giue a good say.

Wilson 1592:

To that kind of lying I should giue a good say.

Adopted reading (This Edition):

How say you, pretty soul, is’t come to pass, yea or no?

Wilson 1584:

How say you pretie soule, ist come to passe, yea or no?

Wilson 1592:

How say you pretie louse, ist come to passe, yea or no?

Adopted reading (This Edition):

Methinks I have pulled your peacock’s plumes somewhat low.

Wilson 1584:

I thinke I haue puld your peacockes plumes somewhat lowe.

Wilson 1592:

Me thinkes I haue puld your peacockes plumes somewhat low.

Adopted reading (This Edition):

But ere it be long, you will come puling to me for relief.

Wilson 1584:

But I know ere it be long you will come puling to me for reliefe.

Wilson 1592:

But ere it be long you will come puling to me for reliefe.

Adopted reading (This Edition):

Nay, Conscience, an you be bookish, I’ll leave ye,

Wilson 1584:

Nay Conscience, and you be bookish I meane to leaue ye,

Wilson 1592:

Nay Conscience, and you be brokish ile leaue ye,

Adopted reading (This Edition):

I’ll bequeath ye

Wilson 1584:

I bequeath ye

Wilson 1592:

ile bequeath ye

Adopted reading (This Edition):

For methinks thou art a plaguey rich knave.

Wilson 1584:

For I thinke now thou art a plaguie rich knaue.

Wilson 1592:

For me thinkes thou art a plaugie rich knaue.

Adopted reading (This Edition):

Can she be a lady that is turned out of all her array?

Wilson 1584:

Is she a Lady that is turned out of all her beray?

Wilson 1592:

Can she be a lady that is turned out of all her array?

Adopted reading (This Edition):

Why, to our victuals! What else have we to do?

Wilson 1584:

Why to our vittailes, I know nothing els we haue to do,

Wilson 1592:

Why, to our vittails, what else haue we to do?

Adopted reading (This Edition):

And mark if I cannot eat twenty times so much as you.

Wilson 1584:

And marke if I cannot eate twentie times as much as you.

Wilson 1592:

And marke if I cannot eate twenty times so much as you.

Adopted reading (This Edition):

If I go lie in an inn, it will grieve me to see

Wilson 1584:

If I go lie in an Inne, I shall be sore greeued to see,

Wilson 1592:

Yf I go lie in an Inne, it will greeue me to see,

Adopted reading (This Edition):

at the over-plenty of water

Wilson 1584:

at the ouer plentie of water

Wilson 1592:

at the euer plentie of water

Adopted reading (This Edition):

And learn to sell broom

Wilson 1584:

And learne to seeke brome

Wilson 1592:

And learne to sell broome

Adopted reading (This Edition):

sell broom

Wilson 1584:

seeke broome

Wilson 1592:

sell broome

Adopted reading (This Edition):

And to bear with ye four or five days goes sore against my mind.

Wilson 1584:

And I tell ye to beare with ye foure or fiue dayes goes sore against my minde,

Wilson 1592:

And to beare with ye foure or fiue dayes goes sore against my mind.

Adopted reading (This Edition):

I’ll take your faith and troth once more, and trust to your honesty

Wilson 1584:

Well Ile take your faith and troth once more, ile trust to your honesty

Wilson 1592:

ile take your faith and troth once more, and trust to your honesty

Adopted reading (This Edition):

Tell me, what good ware for England you do lack?

Wilson 1584:

Tell me what ware you would buy for England, such necessaries as they lacke.

Wilson 1592:

Tell me what good ware for England you do lacke

Adopted reading (This Edition):

And many fit things to suck money from such green-headed wantons.

Wilson 1584:

And many moe fit thinges to sucke away mony from such greene headed wantons.

Wilson 1592:

And many fit things to sucke money from such greene headed wantons.

Adopted reading (This Edition):

Well, see you hold your promise, and another time you shall command me.

Wilson 1584:

Well looke you doe keepe your promise, and other time you shall commaund me:

Wilson 1592:

Well see you hold your promise, and another tune you shall commaund me.

Adopted reading (This Edition):

Alas, Lucre, methinks it is no pain to thee that thou still playest the whore.

Wilson 1584:

Alas Lucar I thinke it is not paine to thee

Wilson 1592:

Alas Lucar, me thinkes it is no paine to thee

Adopted reading (This Edition):

And having occasion to buy brooms

Wilson 1584:

And hauing occasion to vse broomes

Wilson 1592:

And hauing occasion to buy brooms

Adopted reading (This Edition):

And when it is spent, thou shalt have twice so much more.

Wilson 1584:

And when it is spent thou shalt haue twise as much more,

Wilson 1592:

And when it is spent thou shalt haue twise so much more.

Adopted reading (This Edition):

With familiar friends to pass the time in sport,

Wilson 1584:

With familiar friendes to play and passe the time in sport:

Wilson 1592:

With familiar friends to passe the time in sport:

Adopted reading (This Edition):

So that you shall be welcome at all hours, whosoever you bring.

Wilson 1584:

So that you shalbe welcome at all houres whome soeuer you doe bring:

Wilson 1592:

So that you shall be welcome at all houres, whosoeuer you bring.

Adopted reading (This Edition):

And if they should … alas, their words would not at all be weighed,

Wilson 1584:

And if they should (alas their wordes) would nought at al be wayd,

Wilson 1592:

And if they should (alas) their wordes would nought at all be wayd,

Adopted reading (This Edition):

Madam, I deem this same be it, so far as I can guess.

Wilson 1584:

Madam I deeme the same be it, so farre as I can gesse.

Wilson 1592:

Madam, I deeme this same be it, so farre as I can gesse.

Adopted reading (This Edition):

Hold here, my sweet, and then over to see what doth want;

Wilson 1584:

Hould here my sweete, and them ouer to see if any want,

Wilson 1592:

Hold here my sweet, and then ouer to see what doth want,

Adopted reading (This Edition):

That I may find thy lodging fine when with my friend I come.

Wilson 1584:

That I may undo thy lodging fine, when with my friend I come.

Wilson 1592:

that I may find thy lodging fine, when with my friend I come.

Adopted reading (This Edition):

Both vauntingly and flauntingly, although I had no bidding.

Wilson 1584:

Both dauntingly and flauntingly, although I had no bidding.

Wilson 1592:

Both vauntingly and flauntingly, although I had no bidding.

Adopted reading (This Edition):

Master Wink-at-wrong, and Master Headstrong, Mistress Privy-theft and Master Deep-Deceit, Master Abomination and Mistress Fornication (his wife),

Wilson 1584:

And maister deepe Deceit, maister Abhomination, and maister Fornication his wife, Fardinando false=waight, and frissit false=nicasure his wife.

Wilson 1592:

Maister Wincke at wrong, and maister Headstrong, mistris priuy theft, and maister deepe Deceit, maister Abhomination, and mistros Forni=cation his wife, Fardinando false-waight, and frissit false=measure is wife.

Adopted reading (This Edition):

And, sirrah, since

Wilson 1584:

And sirra since

Wilson 1592:

And sirra, sirra, since

Adopted reading (This Edition):

He served at that time the devil in the likeness of Saint Katherine.

Wilson 1584:

He serued at that time the deuill in likenesse of Sainct Katherine,

Wilson 1592:

He serued at that time the deuil in the likenesse of S. Ratherme.

Adopted reading (This Edition):

As who should say his knavery and my policy did agree.

Wilson 1584:

As who should say, his knauerie and my pollicie did not agree.

Wilson 1592:

As who should say his knauerie and my pollicy did agree.

Adopted reading (This Edition):

And to see how artificers do extol Fraud, by whom they bear their sale.

Wilson 1584:

And to see home Artificers doe extoll Fraude, by whome they beare their soule.

Wilson 1592:

And to see how Artificers do extoll Fraud, by whom they beare their sale.

Adopted reading (This Edition):

Tush, this is not my matter. I have nothing therewith to do.

Wilson 1584:

Line not included in Q1.

Wilson 1592:

Tush this is not my matter, I haue nothing therewith to do,

Adopted reading (This Edition):

For God’s sake, good Master Porter, give somewhat to the blind,

Wilson 1584:

For the honour of God good Mas Porter, geue somewhat to the blind

Wilson 1592:

For Gods sake good mas Porter, giue somewhat to the blind,

Adopted reading (This Edition):

Till at the last I met with him, and my money did demand,

Wilson 1584:

Till at the last I met with him, and my money did demande,

Wilson 1592:

till at the last I met with him, and did the money did demand,

Adopted reading (This Edition):

Sure, thou makest me for to think somewhat hath chanced amiss;

Wilson 1584:

Sure thou makest me for to thinke some thing hath chaunst amisse.

Wilson 1592:

Sure thou makest me for to thinke somewhat hath chaunst amisse,

Adopted reading (This Edition):

But now I moan too late, and blush my hap to tell.

Wilson 1584:

But now I mone too late, and blush my hap to tell

Wilson 1592:

But now I moue too late, and blush my hap to tell,

Adopted reading (This Edition):

Of truth it is! Behold a face that seems to smile on me.

Wilson 1584:

Of troth it is, behold a fate, that seemes to smile on me:

Wilson 1592:

Of truth it is behold a face that seemes to smile on me:

Adopted reading (This Edition):

Yea, marry, shall he; for it is a great presumption

Wilson 1584:

I marrie shall he, for it is a great presumption,

Wilson 1592:

Yea mary shall be, for it is a great presumption,

Adopted reading (This Edition):

Pay him double, and in as great a matter command me you shall.

Wilson 1584:

Pay him double, and in a greater matter commaund me you shall.

Wilson 1592:

Pay him double, and in as great a matter commaund me you shall.

Adopted reading (This Edition):

Judge Nemo

Wilson 1584:

SP Judge

Wilson 1592:

SP Diligence

Adopted reading (This Edition):

No? Where is that wretch Dissimulation?

Wilson 1584:

No? Where is that wretch Dissimulation?

Wilson 1592:

Nor where is that wretch Dissimulation?

Adopted reading (This Edition):

What letter is that in thy bosom, Conscience? Diligence, reach it hither.

Wilson 1584:

What letter is and in thy bosome Conscience? Dilligence reache it hither.

Wilson 1592:

What letter is that in thy bosome Conscience? Diligence it hithern

Adopted reading (This Edition):

Did Lucre choke thee so, that thou gavest thyself over to lust?

Wilson 1584:

Did Lucar choke thee so, that thou gauest thy selfe ouer vnto lust?

Wilson 1592:

Did Lucar choke thee so, that thou gauest thy selfe ouer to lust?

Characters

The three ladies of London

Love

Conscience

Lucre

Employees of Lucre

Dissimulation

Fraud

Usury

Simony

Simplicity, a miller, and play’s primary clown

Note about Simplicity goes here.

Sincerity, Simplicity’s cousin, a parson seeking a living

Hospitality, friend of poor and rich alike

Mercadorus, an Italian Merchant

Gerontus, a Jewish merchant in Turkey

Judge of Turkey

Fame, trumpeter of reputation in London

Artifex, a skilled worker

Lawyer Creticus

Sir Nicholas Nemo

Peter Pleaseman

Cogging, Dissimulation’s manservant

Tom Beggar, a beggar

Wily Will, a beggar

Serviceable Diligence, a constable

Officer(s) with Whip(s)

Beadle

Judge Nemo, sitting on the bench for the Assizes

Clerk of the Assizes

Crier of the Assizes

Prosopography

Abby Flight

Remediator and encoder, 2024–present. Abby Flight completed her BA in English at the University of Victoria in 2024, and is now an MA student focusing on Medieval and Early Modern Studies.

Andrew Griffin

Andrew Griffin is an associate professor in the department of English and an affiliate professor in the department of Theater and Dance at the University of California, Santa Barbara. He is general editor (text) of Queen’s Men Editions. He studies early modern drama and early modern historiography while serving as the lead editor at the EMC Imprint. He has co-edited with Helen Ostovich and Holger Schott Syme Locating the Queen’s Men (2009) and has co-edited The Making of a Broadside Ballad (2016) with Patricia Fumerton and Carl Stahmer. His monograph, Untimely Deaths in Renaissance Drama: Biography, History, Catastrophe, was published with the University of Toronto Press in 2019. He is editor of the anonymous The Chronicle History of King Leir (Queen’s Men Editions, 2011). He can be contacted at griffin@english.ucsb.edu.

Chantelle Thauvette

Chantelle Thauvette (Three Ladies of London1592 Q2 text) completed her PhD in English and Cultural Studies, 2013, at McMaster, with a Doctoral Diploma in Gender Studies and Feminist Research. She has published a book chapter in Magic, Marriage, and Midwifery: Eroticism in the Middle Ages and the Renaissance (Turnhout: Brepols, 2014), and articles in SEL: Studies in English Literature, The Journal for Early Modern Cultural Studies, The Journal for Early Modern Cultural Studies, and has presented papers at interdisciplinary early modern conferences including the Renaissance Society of America, the Canadian Society for Renaissance Studies, Shakespeare Association of America, and the Society for the Study of Early Modern Women. She can be contacted at cthauvette@siena.edu.

Erin Julian

Erin Julian (Three Ladies of London, performance) completed her SSHRC-funded dissertation (Laughing Matters: Sexual Violence in Jacobean and Caroline Comedy) in English and Cultural Studies in 2014 at McMaster. She currently holds a SSHRC Postdoctoral Fellowship at Western University (Rape Under Erasure in Early/Modern Shakespeare). Her recent publications include Review Essay: New Directions in Jonson Criticism for Early Theatre 17.1 (2014) and (co-authored with Helen Ostovich) Pedagogical and Web Resources in Julian and Ostovich (eds), The Alchemist: A Critical Reader(Bloomsbury, 2013). She is also co-editor of The Dutch Courtesan for the Complete Works of John Marston (OUP, forthcoming) and editor of the website associated with the performance of the play in March 2019. Her essay on performance, Our hurtless mirth: What’s Funny about The Dutch Courtesan? appears in Early Theatre 23.1 (2000), the special issue on Marston’s play. She can be contacted at ejulian@uwo.ca.

Helen Ostovich

Helen Ostovich, professor emerita of English at McMaster University, is the founder and general editor of Queen’s Men Editions. She is a general editor of The Revels Plays (Manchester University Press); Series Editor of Studies in Performance and Early Modern Drama (Ashgate, now Routledge), and series co-editor of Late Tudor and Stuart Drama (MIP); play-editor of several works by Ben Jonson, in Four Comedies: Ben Jonson (1997); Every Man Out of his Humour (Revels 2001); and The Magnetic Lady (Cambridge 2012). She has also edited the Norton Shakespeare 3 The Merry Wives of Windsor Q1602 and F1623 (2015); The Late Lancashire Witches and A Jovial Crew for Richard Brome Online, revised for a 4-volume set from OUP 2021; The Ball, for the Oxford Complete Works of James Shirley (2021); The Merry Wives of Windsor for Internet Shakespeare Editions, and The Dutch Courtesan (with Erin Julian) for the Complete Works of John Marston, OUP 2022. She has published many articles and book chapters on Jonson, Shakespeare, and others, and several book collections, most recently Magical Transformations of the Early Modern English Stage with Lisa Hopkins (2014), and the equivalent to book website, Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context containing scripts, glossary, almost fifty conference papers edited and updated to essays; video; link to Queen’s Mens Ediitons and YouTube: http://threeladiesoflondon.mcmaster.ca/contexts/index.htm, 2015. Recently, she was guest editor of Strangers and Aliens in London ca 1605, Special Issue on Marston, Early Theatre 23.1 (June 2020). She can be contacted at ostovich@mcmaster.ca.

Janelle Jenstad

Janelle Jenstad is a Professor of English at the University of Victoria, Director of The Map of Early Modern London, and Director of Linked Early Modern Drama Online. With Jennifer Roberts-Smith and Mark Beatrice Kaethler, she co-edited Shakespeare’s Language in Digital Media: Old Words, New Tools (Routledge). She has edited John Stow’s A Survey of London (1598 text) for MoEML and is currently editing The Merchant of Venice (with Stephen Wittek) and Heywood’s 2 If You Know Not Me You Know Nobody for DRE. Her articles have appeared in Digital Humanities Quarterly, Elizabethan Theatre, Early Modern Literary Studies, Shakespeare Bulletin, Renaissance and Reformation, and The Journal of Medieval and Early Modern Studies. She contributed chapters to Approaches to Teaching Othello (MLA); Teaching Early Modern Literature from the Archives (MLA); Institutional Culture in Early Modern England (Brill); Shakespeare, Language, and the Stage (Arden); Performing Maternity in Early Modern England (Ashgate); New Directions in the Geohumanities (Routledge); Early Modern Studies and the Digital Turn (Iter); Placing Names: Enriching and Integrating Gazetteers (Indiana); Making Things and Drawing Boundaries (Minnesota); Rethinking Shakespeare Source Study: Audiences, Authors, and Digital Technologies (Routledge); and Civic Performance: Pageantry and Entertainments in Early Modern London (Routledge). For more details, see janellejenstad.com.

Jessica Dell

Jessica Dell (Three Ladies of London, Q1 1584) defended her doctoral dissertation, Vanishing Acts: Absence, Gender, and Magic in Early Modern Drama, 1558–1642, in September 2014 at McMaster University. In 2016, she became a full-time instructor at Aurora College (NWT) in the Bachelor of Education program which partners with the University of Saskatchewan and the Indian Teacher Education Program (ITEP). Recent publications include A witch, a quean, an old cozening quean!: Image Magic and Shakespeare’s The Merry Wives of Windsor in Magical Transformations on the Early Modern English Stage (2014) and, with David Klausner and Helen Ostovich, co-edited The Chester Cycle in Context, 1555–1575: Religion, Drama, and the Impact of Change (2012). She can be contacted at Jdell@auroracollege.nt.ca.

Kate LeBere

Project Manager, 2020–2021. Assistant Project Manager, 2019–2020. Textual Remediator and Encoder, 2019–2021. Kate LeBere completed her BA (Hons.) in History and English at the University of Victoria in 2020. During her degree she published papers in The Corvette (2018), The Albatross (2019), and PLVS VLTRA (2020) and presented at the English Undergraduate Conference (2019), Qualicum History Conference (2020), and the Digital Humanities Summer Institute’s Project Management in the Humanities Conference (2021). While her primary research focus was sixteenth and seventeenth century England, she completed her honours thesis on Soviet ballet during the Russian Cultural Revolution. She is currently a student at the University of British Columbia’s iSchool, working on her masters in library and information science.

Navarra Houldin

Training and Documentation Lead 2025–present. LEMDO project manager 2022–2025. Textual remediator 2021–present. Navarra Houldin (they/them) completed their BA with a major in history and minor in Spanish at the University of Victoria in 2022. Their primary research was on gender and sexuality in early modern Europe and Latin America. They are continuing their education through an MA program in Gender and Social Justice Studies at the University of Alberta where they will specialize in Digital Humanities.

Oluwaseun Akintola

Oluwaseun Akintola is a student pursuing an English major and Psychology minor at the University of Victoria. She has had the opportunity of working for LEMDO as the recipient of the Undergraduate Student Research Award (USRA) from the Social Sciences and Humanities Research Council of Canada (SSHRC) for the summers of 2024 and 2025. Her research primarily focuses on premodern critical race theory in early modern drama, researching racial representation, and constructions of identity in Shakespeare’s plays Othello and The Merchant of Venice.

Peter Cockett

Peter Cockett is an associate professor in the Theatre and Film Studies at McMaster University. He is the general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. He was the stage director for the Shakespeare and the Queen’s Men project (SQM), directing King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006) and he is the performance editor for our editions of those plays. The process behind those productions is documented in depth on his website Performing the Queen’s Men. Also featured on this site are his PAR productions of Clyomon and Clamydes (2009) and Three Ladies of London (2014). For the PLS, the University of Toronto’s Medieval and Renaissance Players, he has directed the Digby Mary Magdalene (2003) and the double bill of George Peele’s The Old Wives Tale and the Chester Antichrist (2004). He also directed An Experiment in Elizabethan Comedy (2005) for the SQM project and Inside Out: The Persistence of Allegory (2008) in collaboration with Alan Dessen. Peter is a professional actor and director with numerous stage and screen credits. He can be contacted at cockett@mcmaster.ca.

Robert Wilson

Actor with the Queen’s Men. See Robert Wilson (d. 1600).

Si Micari-Lawless

Si Micari-Lawless is a research assistant with LEMDO and MoEML, and an incoming fourth-year English major at the University of Victoria.

Sofia Spiteri

Sofia Spiteri is currently completing her Bachelor of Arts in History at the University of Victoria. During the summer of 2023, she had the opportunity to work with LEMDO as a recipient of the Valerie Kuehne Undergraduate Research Award (VKURA). Her work with LEMDO primarily includes semi-diplomatic transcriptions for The Winter’s Tale and Mucedorus.

Stephanie Erickson

Stephanie Erickson is a research assistant working out of McMaster University with Dr. Peter Cockett. She is an encoder working on the Queen’s Men Editions.

Tracey El Hajj

Junior Programmer 2019–2020. Research Associate 2020–2021. Tracey received her PhD from the Department of English at the University of Victoria in the field of Science and Technology Studies. Her research focuses on the algorhythmics of networked communications. She was a 2019–2020 President’s Fellow in Research-Enriched Teaching at UVic, where she taught an advanced course on Artificial Intelligence and Everyday Life. Tracey was also a member of the Map of Early Modern London team, between 2018 and 2021. Between 2020 and 2021, she was a fellow in residence at the Praxis Studio for Comparative Media Studies, where she investigated the relationships between artificial intelligence, creativity, health, and justice. As of July 2021, Tracey has moved into the alt-ac world for a term position, while also teaching in the English Department at the University of Victoria.

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Hopkins, Lisa. Gerontus and Early Modern Dramatic Representations of Jews. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/LisaHopkins.htm.

Ingram, Anders. Turks, Trade, and Turning. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/AndersIngram.htm.

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Kelly, Erin. Anti-Catholicism and Protestant Polemic in Robert Wilson’s The Three Ladies of London. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/ErinKelly.htm.

Kermode, Lloyd Edward, ed. Three Renaissance Usury Plays: The Three Ladies of London, Englishmen for My Money, The Hog Hath Lost His Pearl. Manchester UP, 2009.

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Martin, Matthew R. Religious Tolerance in Wilson and Marlowe. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/MathewMartin.htm.

Martin, Randall, ed. Every Man Out of His Humour. By Ben Jonson. The Cambridge Edition of the Works of Ben Jonson Volume 1. Ed. David Bevington, Martin Butler, and Ian Donaldson. New York: Cambridge UP, 2012.

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Ostovich, Helen. Doubling Love. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/HelenOstovich.htm

Palmer, Daryl. What We Talk about When We Talk about Hospitality in Robert Wilson’s The Three Ladies of London. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/DarylPalmer.htm.

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Salkeld, Duncan. Ladies of London: Prostitution in the 1570s. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/DuncanSalkeld.htm.

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Semple, Edel. Playing the Whore: Performing and Contextualizing Prostitution in The Three Ladies of London. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/EdelSemple.htm.

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Stevens, Andrea. The Spotting of Lady Conscience in The Three Ladies of London. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/AndreaStevens.htm.

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Wilson, Robert. A right excellent and famous comedy, called The three ladies of London. Wherein is natablie declared and set forth, how by the meanes of lucar, loue and conscience is so corrupted, that the one is married to dissimulation, the other fraught with all abhomination. A perfect patterne for all estates to looke into, and a worke right worthie to be marked. London: printed by Iohn Danter, 1592. STC 25785. ESTC S111803. Greg 85(b). DEEP 120.

Wilson, Robert. A right excellent and famous comoedy called the three ladies of London. London: Roger Ward, 1584. STC 25784. ESTC S111805. DEEP 119.

Wilson, Robert. The Three Ladies of London. Three Renaissance Usury Plays: The Three Ladies of London, Englishmen for My Money, The Hog Hath Lost His Pearl. Ed. Lloyd Edward Kermode. Manchester UP, 2009. 79-163.

Wong, Katrine. A Dramaturgical Study of Conscience’s Broom Song in The Three Ladies of London. Performance as Research in Early English Theatre Studies: The Three Ladies of London in Context. Ed. Helen Ostovich and Melinda Gough. McMaster University, 2015. http://threeladiesoflondon.mcmaster.ca/contexts/KatrineWong.htm.

Orgography

LEMDO Team (LEMD1)

The LEMDO Team is based at the University of Victoria and normally comprises the project director, the lead developer, project manager, junior developers(s), remediators, encoders, and remediating editors.

QME Editorial Board (QMEB1)

The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).

Queen’s Men Editions (QME1)

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); and Andrew Griffin, General Editor (Text).

University of Victoria (UVIC1)

https://www.uvic.ca/

Witnesses

This edition, edited by Chantelle Thauvette

Wilson, Robert. A right excellent and famous comoedy called the three ladies of London. London: Roger Ward, 1584. STC 25784. ESTC S111805. DEEP 119.

Metadata

Authority title	The Three Ladies of London
Type of text	Primary Source
Publisher	University of Victoria on the Linked Early Modern Drama Online platform
Series
Source	This file has been converted from a .docx file containing the text of the play and IML tags.
Editorial declaration
Edition	Modern text prepared by Chantelle Thauvette for Queen’s Men Editions.
Encoding description
Document status	IML-TEI_INP
License/availability	Intellectual copyright is held by the editor and licensed for reuse under a CC BY-nd/4.0 license. The XML files of the old-spelling texts and the modern text are freely downloadable without permission, provided credit is given to QME, the editor(s), and LEMDO in any subsequent use of the files and data.