Excerpts from <title level="m">Beauty Dishonored Written Under the Title of Shore’s Wife Author Anthony Chute Editor Toby Malone Conversion and Remediation LEMDO Team Markup and Metadata LEMDO Team Copyright Holder (Content) Toby Malone Copyright Holder (XML and interface) University of Victoria Queen’s Men Editions QME

The Queen’s Men Editions anthology is led by Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text; until 2026); and Janelle Jenstad, General Editor (Text; 2026–)

 Social Sciences and Humanities Research Council of Canada McMaster University Poculi Ludique Societas University of Waterloo University of Toronto Centre for Drama, Theatre & Performance Studies University of Victoria Friends of the ISE

Released with Queen’s Men Editions 2.1

 University of Victoria on the Linked Early Modern Drama Online platform

Intellectual copyright in this edition is held by the editor, Toby Malone. The critical paratexts are licensed for reuse under a CC BY-NC-SA 4.0 license, which means that they are freely downloadable without permission under the following conditions: (1) credit must be given to the editor, QME, and LEMDO in any subsequent use of the files and/or data; (2) derivatives (e.g., adapted scripts for performance) must be shared under the same CC BY-NC-SA 4.0 license; and (3) commercial uses are not permitted without the knowledge and consent of the editor, QME, and LEMDO. This license allows for pedagogical use of the critical paratexts in the classroom. Neither the content nor the code in this file is licensed for training large language models (LLMs), ingestion into an LLM, or any use in any artificial intelligence applications; such uses are considered to be commercial uses and are strictly prohibited.

Production photographs and videos on this site may not be downloaded. They appear freely on this site with the permission of the actors and the ACTRA union. They may be used within the context of university courses, within the classroom, and for reference within research contexts, including conferences, when credit is given to the producing company and to the actors. Commercial use of videos and photographs is forbidden.

Queen’s Men Editions

Born-digital, peer-reviewed document prepared by Toby Malone. First published in the QME 2.1 anthology on the LEMDO platform. Encoded in TEI-XML by the LEMDO Team.

Prepared by Toby Malone for the Queen’s Men Editions.

 Document Types All documents in LEMDO are either born-digital documents or primary documents. Within those two general categories, LEMDO offers additional ways to categorize a file. Primary Source Primary source documents. Use this top-level category only for supplementary texts, usually in combination with the editorial treatment letmixed. Editorial Treatments Distinct approaches to textual editing used by LEMDO editors Excerpted Texts which are not complete, usually because of editorial selection in service of a specific goal. Mixed Texts in which a variety of possibly incongruous editorial approaches have been mixed. Use this category in combination with ldtPrimary. Responsibilities Responsibilities Author MARC Code List for Relators definition: A person, family, or organization responsible for creating a work that is primarily textual in content, regardless of media type (e.g., printed text, spoken word, electronic text, tactile text) or genre (e.g., poems, novels, screenplays, blogs). Use also for persons, etc., creating a new work by paraphrasing, rewriting, or adapting works by another creator such that the modification has substantially changed the nature and content of the original or changed the medium of expression. LEMDO uses the term author in two contexts: (1) to indicate the author of a primary work or document (such as Hamlet), and (2) to indicate the author of a secondary text (such as the Critical Introduction to <title level="m">Hamlet, by David Bevington). Markup Editor MARC Code List for Relators definition: A person or organization performing the coding of SGML, HTML, or XML markup of metadata, text, etc. LEMDO uses this term for someone who encodes a file, remediates a converted text, or reviews the XML markup of a file. Textual Editor This term is for use in project-level or edition-level credits if an anthology’s organizational structure includes this role. The term textual editor appears in the file-level metadata for documents produced before 2017. From 2017 on, this term is reserved for project-level credits. Do not use at the file level; if a textual editor performs a specific function with respect to a file, use the precise resp value for their work. Copyright Holder MARC Code List for Relators definition: A person or organization to whom copy and legal rights have been granted or transferred for the intellectual content of a work. The copyright holder, although not necessarily the creator of the work, usually has the exclusive right to benefit financially from the sale and use of the work to which the associated copyright protection applies. Normally the editor is the copyright holder for an LEMDO edition. Published file. Entered minor corrections after final proofing. Finalized the metadata. Edition was peer reviewed by Janelle Jenstad. Added information to correspond with original editor submission and comply with citation guidelines. Removed short title. Updated the comment in the file. Changed annotations to editorial notes. Remediated file. Added document xml:id to the ids throughout the file using XSLT. Removed supplied elements that do not have attributes, using XSLT. Added anchors and modified using XSLT. Converted document from DOCX files. Peter Cockett Peter Cockett

Peter Cockett is an associate professor in the iArts (Integrated Arts) program at McMaster University. He is the co-editor, with Melinda Gough, of Engendering the Stage in the Age of Shakespeare and Beyond (University of Toronto Press, 2025) which publishes the findings of their 2018 Performance as Research (PaR) workshop at the Stratford Festival Lab. He is the general editor (performance), and technical co-ordinating editor of Queen’s Men Editions. His PaR directing credits include King Leir, The Famous Victories of Henry V, and Friar Bacon and Friar Bungay (2006), Clyomon and Clamydes (2010), and Three Ladies of London (2015) for the Shakespeare and the Queen’s Men project (SQM). The process behind the 2006 productions is documented in depth on the project website Performing the Queen’s Men. 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.

 Tracey El Hajj 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.

 Mahayla Galliford Mahayla Galliford

Project Manager, 2025-present; Assistant Project Manager, 2024-2025; Research Assistant, 2021-present. Mahayla Galliford (she/her) graduated from the University of Victoria with a BA (honours with distinction) in 2024, and an MA English in 2026. Mahayla’s undergraduate research explored early modern stage directions and civic water pageantry. Her SSHRC-funded MA thesis project focuses on transcribing, editing, and encoding early modern girls’ manuscripts, specifically Lady Rachel Fane’s May Masque in collaboration with LEMDO.

 Andrew Griffin 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.

 Martin Holmes Martin Holmes

Martin Holmes has worked as a developer in the UVic’s Humanities Computing and Media Centre for over two decades, and has been involved with dozens of Digital Humanities projects. He has served on the TEI Technical Council and as Managing Editor of the Journal of the TEI. He took over from Joey Takeda as lead developer on LEMDO in 2020. He is a collaborator on the SSHRC Partnership Grant led by Janelle Jenstad.

 Janelle Jenstad 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.

 Kate LeBere Kate LeBere KL

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.

 Toby Malone Toby Malone

Toby Malone is an Australian/Canadian academic, dramaturg, and librarian. He is a graduate of the University of Toronto (PhD, 2009) and the University of Western Australia (BA Hons, 2001), and the University of Western Ontario (MLIS, 2023). He has worked as a theatre artist across the world, with companies including the Stratford Festival, Canadian Stage, Soulpepper, Driftwood Theatre Group, the Shaw Festival, Poorboy Theatre Scotland, Pittsburgh Public Theatre, Arizona Theatre Company, CBC, BT/A, and Kill Shakespeare Entertainment. He has published in Shakespeare Survey, Literature/Film Quarterly, Canadian Theatre Review, Borrowers and Lenders, Oxford Research Encyclopedia of Literature, appears in published collections with Routledge, Cambridge, and Oxford. Publications include two monographs: dapting War Horse (Palgrave McMillan) and Cutting Plays for Performance: A Practical and Accessible Guide (Routledge), and is currently co-writing an updated version of Shakespeare in Performance: Romeo and Juliet with Jill L. Levenson for Manchester UP. Toby has previously taught at the University of Waterloo and the State University of New York at Oswego, is currently Research Impact Librarian at Toronto Metropolitan University.

Helen Ostovich 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.

 Jennifer Parr Jennifer Parr

Jennifer Parr holds a Masters degree in European and Renaissance Drama from the University of Warwick. She is an independent scholar and professional director and dramaturge based in Toronto. As an undergraduate at the University of Toronto she became involved as an actor with the P.L.S. Medieval and Renaissance Players’ productions of the Medieval Mystery Cycles returning later to direct an all female company in the York Cycle Fall of the Angels for the international full cycle production in 1998. Her recent productions as director and dramaturge include an all female Julius Caesar and an experimental all female adaptation of Richard III: RIchard 3, Queens 4. Her ongoing research into the historical Richard III and the various theatrical interpretations led to her joining the company of TTR3 as an observer and historical resource for the cast. She also writes a monthly column on music theatre and dance for The WholeNote magazine.

 Jennifer Roberts-Smith Jennifer Roberts-Smith

Jennifer Roberts-Smith is an associate professor of theatre and performance at the University of Waterloo. Her interdisciplinary work in early modern performance editing combines textual scholarship, performance as research, archival theatre history, and design in the development of live and virtual renderings of early modern performance texts, venues, and practices. With Janelle Jenstad and Mark Beatrice Kaethler, she is co-editor of Shakespeare’s Language in Digital Media: Old Words New Tools (2018). Her most recent work has focused on methods for design research that deepen interdisciplinary understanding and take a relational approach. She is currently managing director of the qCollaborative (the critical feminist design research lab housed in the University of Waterloo’s Games Institute, and leads the SSHRC-funded Theatre for Relationality and Design for Peace projects. She is also creative director and virtual reality development cluster lead for the Digital Oral Histories for Reconciliation (DOHR) project. She can be contacted at jennifer.roberts-smith@uwaterloo.ca.

 Samuel Seaberg Samuel Seaberg

Samuel Seaberg, a University of Victoria English undergrad, enjoys riding his bike. During the summer of 2025, he began working with LEMDO as a recipient of the Valerie Kuehne Undergraduate Research Award (VKURA). Unfortunately, due to his summer being spent primarily in working to establish an edition of Thomas Heywood’s If You Know Not Me, You Know Nobody, Part 2 and consequently working out how to represent multi-text works in a digital space, his bike has suffered severely of sheltered seclusion from the sun. Note: Samuel now works for LEMDO as the Assistant Project Manager, much to his bike’s chagrin.

 Dimitry Senyshyn Dimitry Senyshyn

Dimitry Senyshyn (Clyomon and Clamydes, text) has current research focusing on Shakespeare’s tragicomic romances and their relation to a native tradition of popular romance. He has co-edited an old-spelling edition of The True Tragedie of Richard the Third for QME with Jennifer Robert-Smith. He contributed to the preparation of the REED Inns of Court volume, and he has published in Theatre Research in Canada, Early Theatre, and the Encyclopedia of the Bible and its Reception. He can be contacted at dimitry.senyshyn@gmail.com.

 Joey Takeda Joey Takeda

Joey Takeda is LEMDO’s Consulting Programmer and Designer, a role he assumed in 2020 after three years as the Lead Developer on LEMDO.

 Nicole Vatcher Nicole Vatcher NV

Technical Documentation Writer, 2020–2022. Nicole Vatcher completed her BA (Hons.) in English at the University of Victoria in 2021. Her primary research focus was women’s writing in the modernist period.

 Anonymous Anthony Chute Anthony Chute Chute, Anthony. Beawtie dishonoured written vnder the title of Shores wife: Chascun se plaist ou il se trouue mieux. London: I. Windet, 1593. OED: The Oxford English Dictionary. 2nd ed. Oxford University Press, 1989. LEMDO Team 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. University of Victoria https://www.uvic.ca/ QME Editorial Board

The QME Editorial Board consists of Helen Ostovich, General Editor; Peter Cockett, General Editor (Performance); Andrew Griffin, General Editor (Text); and Janelle Jenstad General Editor (Text).

Excerpts from Beauty Dishonored Written Under the Title of Shore’s Wife (Chute)

Hence hapsFortuitously occurs (OED hap, v.1 3). her fortune to be illed so much, Whom fourth king Edward excellently prized, And hence it haps, because there was none such, Shore’s wife, most fair, the most foul is surmised,Alleged, charged as being (OED surmise, v. 1.a). And hence it haps, that dead to all, disdain her, Her wronged ghost striveth to complain her. Who, whilst she lived the subject of impiety, Ground of a thousand voices disagreeing, The matter of unhallowedProfaned, deprived of holy or sacred character (OED unhallowed, adj. 1). fame’s variety, (Which from her good hapFortune, luck, success (OED hap, n.1 1). had unworthy being) Even on her dying bed divinely sorry, Pensive in heart, she weeps forth thus her story. For now, ambitious in her fabling humorFalse, idle (OED fable, adj. 2); disposition, inclination (OED humour, n. 6.a). Unto my king, my beauty she dispenses, To whom she imparts a wonder-working rumor, In speech authentical, to charm his senses: With act, his eyes, his ears, with words she won, His heart, his love, his soul, ere she had done. She seemed sober, hearty, and precise, Framing her false looks to a pleading fitness: The unthought-on truth she adapts her humbled eyes, And every act seemed her tale’s truth to witness: And what she thought could win the king, she wrought on In act, and speech she let not pass unthought on. So as when at his oracles disclosing, Divining Proteus, prophesying small things His self from color from his shape disposing, Deludes the suitor hold by seeming all things Making himself a monster to the view Before deceit can bring him to tell true. Monster fame so, divining on supposes: Suspicious of herself, (herself a liar), In altering tales her flattery discloses Wrought to report ill by her own desire Whilst that the king credits her tale for truth Which after turned a shame unto his youth. For had she been more ready to report it His apt belief had sooner given it credit: His willing harkening ear did well import it, Was so attentive to the tale that spread it: For this fault even is incident to kings, Too much to credit over pleasing things. And that she might the better bring to pass, Shame to my Lord, herself, and shame to me, She adds how wanton, buxom, young I was, Fit consort with his younger years to be, And when at length she had discoursed her fill, Away she flies: abominable ill. But he that stands enchanted with the wonders, By secret stealth dishonorable sin, Him from his sense, his sense from virtue sunders, And now in madding love lust doth begin, And that foul stain his fury is incensed with By majesty (sayeth he) shall be dispensed with: Then to mine ear (divining my misfortune,) Secret reports came whispering stranger wonders, And with their oratory pleas, mine ears importune, Whilst blind conceit me from my good hap sunders: With charming proffers still my king salutes me As one for absolutest fair reputes me. And those, to whom he secretly commended, The inquisition of my beauty’s being: Those my attract, my change of fortune tended My beauty’s worth and excellency seeing: Report my beauty to be so divine; As now he prized none so much as mine: And soon had gifts, soon had my lord’s desire, My soul from chastity, myself from me, With often presents taught how to retire Tasting the proffers of a high degree: And then me thought though I ne’er proved before A king’s embrace was even a heaven or more: Lo then, to court, unto my king I came, Monarch aspect of my recusantRefusing to submit, dissenting (OED recusant, n. 1.a). eye: Mine eye, the matter of my body’s shame, As long as shame, or sin were nursed thereby, With niggardMiserly, withholding (OED niggard, adj. 1.a). favor, at the first did seem, As one that held his crown scarce worth esteem. For now my scholarEducated, trained. eyes had learned to fashion Their looks authentical, and quaint precise: My coyness argued a stranger passion, To make him so, more pliant to mine eyes: And I, whom he esteemed easy-won, Made him my subject, ere mine eyes had done. For now I saw: when equally precise, He saw the honor was due worth my beauty: My brows’ recusancy ’gan tyrannize, And of my king exact a tribute duty. And if he proffered love, I would forsake it For women first say no, and then they take it. I wrought so well, my face did seem to say, I prized chastity, but even too much: My apt framed countenance seemed to bewray, A purposed firmness to my seeming such: And my pretext by working so before: Was but to make him love me so much more. For now in me variety of love, Had wrought such knowledge, by my seeming proneDisinclined. As whom I knew quickly seduced did prove, I knew was quickly got, and quickly gone: And therefore now opposed I seemed the stronger, That late ere won, I might be loved the longer. For when I saw him fawningly respect me, I played upon him with a stranger No: And so much more I saw he did affect me, As I seemed further off in saying so, Yet then I knew my coyness so might prove A king would hardly bow too low to love. In equal mean, therefore, did I contain Th’ impatience of my seeming loath to sin, No beggar humbleness my face did stain, With apt desire to throw myself therein: And if my coyness made him loath to woo Then would I lend him smiles, and kisses too. Nor did I in denying faintly so But secretly seem to desire again, The hoped proffers my consenting No, In secret wish already did contain: But long alas could not persist therein For ere I left I sold myself to sin. For now reigned tyranny in ambitious throne, A trueborn infant-blood spilling murderer: Usurping monster, yet controlled of none, Foul guilt’s appeal, and mischief’s furtherer, Proud Richard Gloucester in his pride I saw Act all things at his will: for will was law. He says (and then he shows a withered arm Dried at his birthday, lame and useless still): Quoth he, ’twas thou by charms wroughtst me this harm! And therefore dooms me to his tyrant will: For never is the offended mighty armless To wreak his fury on the hated harmless. Bear hence, quoth he (and there withal reflected Fire-sparkling fury from incensed eyes, Whose madding threat his lunacy detected, And told me he was taught to tyrannize) And then again in more incensed rage He cries, bear hence this monster of her age! When lo, the servant sworn performeth on me The unwilling office of a grieved sorry: And whilst he yet lays forced hands upon me Noting my beauty, and my beauty’s glory, He does his duty: yet his looks do show He craveth pardon for his doing so. For what eye framed to envy and disdain Would not enforce the heart to shake the head, When that pure maiden blush that did distainDiscolor, tinge (OED distain, v. 1); defile, sully, dishonor (OED distain, v. 2). My purple cheek with faint vermillion red, Seemed constant fair not changed for threatening will But fearful true and modest comely still. I seemed unwilling that the tyrant should By force of will have tyrant-like compelled me, And therefore made the little shift I could To burst away out of their arms that held me, But as I struggled, beauty grew the more, Which seen, they held me faster than before. And those unwilling hands that preyed upon me (Happy they held me to behold my beauty) Embraced me fasterTighter. with still gazing on me To feed their eyes: lists not perform their duty, For had it been in them I am assured Such tyrant laws I should not have endured. But he, whom hell-nursed fury hath infected, Threats death to them, and me that him offended And from his knitted brows horror reflected, The enraged doom his felon thoughts intended: Impatient, moody, mad, and full of ire, He swears by heaven that shame shall be my hire.Reward, recompense (OED hire, n. 3). Posterity says he (and then again The knit veins of his proudly-looking brows Swelling with malice, and extreme disdain, Like to an ireful boar he proudly bows) And swears by hell heavy revenge shall date The incensed displeasure of his falling hate. Posterity shall know thine act, (quoth he) And then he bids that my attires be rent,Torn, rended (OED rent, n.2 4) And terms the habitDress, clothing, attire (OED habit, n. 3). unbefitting me A sorcerer witch full of her foul intent: And that which words for anger could not say A furious act in gesture did bewray.Expose, divulge (OED bewray, v. 2.a). When I, ’reftBereft. of my habit and attire, Stood yet as modest, as a maid should be, Bashfully feared with the new admire, Of this base tyrant’s ravishing of me, Who, not content with this, commands that I, Be turned into the streets and beg or die. Even as an angry bull, incensed with ire, Bellowing his menaces with a hollow roar, Impatient, mad, wanting his lust’s desire, Augments his madded fierceness more and more And yet no quiet any murder brings Although he prays upon a thousand things. So unappeased, unquiet, mad, and ireful Rages the insatiate fury of his will: And in his look, fierce, wan, and pale, and direful He seems impatient, moody, madded, still, And not content with this disgrace to grieve me He says that all shall die that dare relieveHelp, assist. me. Then from the court, the martyrdom of me, All solitary, alone, forlorn, I went Thither where discontentment I did see, Threatening my misery ere my days were spent And needy want as naked as was I, Told me that thus perplexed I should die. When I, unapt to frame a liar-tale, UnaptUnable, unfit (OED unapt, adj. 1). to crave my bread with beggar prayer, My poor discountenanced look all wan and pale Through hunger’s nature waned from her fair I could not: O, shame would not then that I Should beg at all but rather choose to die. And yet necessity did urge constraint, To brook the impatience of her proper will, Whilst silence breaking out to no complaint, In secret passion hid her sorrow still: And shame with fearful blush all grieved did cry And wished she did but know but how to die. Nor could remembrance of my high degree, Brook my resorting into public place: For I did sigh as oft as I did see, Or think that any thought on my disgrace And who despairs in such a kind as this Thinks that the whole world knoweth all amiss.