publications 
 
 OF THE 
 
 lllniversit^ of Pennsylvania 
 
 SERIES IN 
 
 Philolugy and Literature 
 
 VOL. VIII. No. i 
 
 THE FAIRE M.AIDE OF BRISTOW 
 
 A COMEDY 
 
 NOW FIRST REPRINTED FROM THE QUARTO OF 1605 
 
 EDITED WITH AN INTRODUCTION AND NOTES 
 
 P.Y 
 
 ARTHUR HOBSON QUINN 
 
 Instructor in English. University of Pennsylvania 
 
 Pubiisln tl for the University 
 
 PHILADELPHIA 
 
 1902 
 
 Ginn & Company, Selling Agents, 29 Beacon Street, lioston, Mass. 
 
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 The faire maide of Bristow, a comedy now 
 
 3 1924 013 126 986 
 
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 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924013126986 
 
publications 
 
 OF THB 
 
 ^University of Pennsylvania 
 
 SERIES IN 
 
 Philology and Literature 
 
 VOL. VIII. No. i 
 
 THE FAIRE MAIDE OF BRISTOW 
 
 A COMEDY 
 NOW FIRST REPRINTED FROM THE QUARTO OF 1605 
 
 EDITED WITH AN INTRODUCTION AND NOTES 
 
 ARTHUR HOBSON QUINN 
 
 Instructor in English, University of Pennsylvania 
 
 Published for the University 
 PHILADELPHIA 
 
 Ginn & Co., Selling Agents, Tremont Place, Boston, Mass. 
 
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 A, 1^2^ 3 
 
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PREFACE. 
 
 The editing of this play was undertaken at the suggestion 
 of Professor Josef Schick, of the University of Munich. 
 The translation into German by Ludwig Tieck had appeared 
 in the Shakespeare Jahrbuch and it seemed only fitting that 
 the English original should also be published. Circumstances 
 forbade the completion of the work at that time and it was 
 resumed, after my return to this country, under the direction 
 of Professor Schelling, in partial fulfillment of the required 
 work in the Graduate School of the University of Pennsyl- 
 vania. 
 
 It is with particular pleasure that I am able to thank, at the 
 same time, my two teachers, Professor Schelling and Professor 
 Schick, for their invaluable counsel and friendly interest. My 
 thanks are also due for helpful suggestions to my colleagues, 
 Professor Clarence G. Child and Professor Hugo A. Rennert, 
 and to my fellow-student in Munich, Professor O. F. Lewis, 
 of the University of Maine. Professor Child very kindly made 
 the index. For my conclusions as to the source and author- 
 ship of the play, I am alone responsible. 
 
 University of Pennsylvania, May, 1902. 
 
 (3) 
 
INTRODUCTION. 
 
 (5) 
 
I. 
 
 The Faire Maide of Bristow was published anonymously 
 by Thomas Pavyer in 1605. No attempt has since been 
 made either to edit the play or to fix the responsibility for its 
 authorship, if we except Collier's surmises with regard to 
 John Day. It has been mentioned in the usual places, 1 Mr. 
 Bullen, Mr. Fleay and Mr. Ward denying Day's claim to 
 authorship, and in Herr Bolte's edition 2 of Tieck's translation 
 of the play, there is a description of the English original and 
 some speculations in regard to the sources. 
 
 The Stationers' Register? under the date of February 
 eighth, 1605, contains the following entry : 
 
 ' ' Thomas Pavyer. Entred for his copy under th [e h] andes 
 " of the Wardens. A commedy called 'the fay re Mayd of Bristoe ' 
 " played at Hampton Court by his Maiesties players." 
 
 - An Account of the English Dramatick Poets, etc. Gerard Langbaine. Ox- 
 ford, 1691. Page 531. 
 
 Biographia Dramatica. Baker-Reed-Jones. 1812. Vol. II, p. 211. 
 
 History of English Dramatic Poetry. J. P. Collier. 1831. Vol. Ill, p. 50; 
 also The Diary of Philip Henslowe, 1845, p. 220, in the Shakespeare Society's 
 Publications. 
 
 A Manual for the Collector and Amateur of Old English Plays. W. Carew 
 Hazlitt. 1892. Page 79. 
 
 The Works of John Day. Edited by A. H. Bullen. 1881. Page 10. 
 
 A Biographical Chronicle of the English Drama. F. G. Fleay. 1891. Vol. 
 II, p. 329. 
 
 A History of English Dramatic Literature. A. W. Ward. Ed. 1899. Vol. 
 II, pp. 219 and 591. 
 
 The English Chronicle Play. F. E. Schilling. 1902. Page 171. 
 
 1 Shakespeare Jahrbuch. Jahrgang XXXI. 1895. Page 126. 
 
 * A Transcript of the Registers of the Company of Stationers of London. 
 Edited by Edward Arber. 1876. Vol. Ill, p. 120. 
 
 (7) 
 
8 The Faire Maide of Bristow. 
 
 As Mr. Fleay points out, the King was at Hampton Court 
 early in October, 1604, so that we may reasonably conclude 
 that the first performance took place at this time, and as the 
 winter home of the King's company during this period was the 
 Blackfriars' Theater, it seems probable that this was the place 
 where the comedy, if it proved popular, was afterward acted. 
 
 There are at present three copies of the play extant. The 
 present edition is based on one of the original quartos of 1605, 
 which is now in the British Museum. It consists of forty -two 
 unnumbered pages and is printed in black letter, the names of 
 the characters being printed in Roman type. There is no list 
 of persons in the play, the scenes are not divided, and there 
 are no stage directions, except the entrances and exits. 
 
 Another quarto is in the Bodleian Library at Oxford and 
 there is also, in the Konigliche Bibliothek in Berlin, a manu- 
 script copy which Tieck had made for his own use in trans- 
 lation. This has been well and carefully copied, and to all 
 intents and purposes is an exact reproduction of the original, 
 except that the play has been divided into scenes and the 
 capitalization has been somewhat altered. 
 
 II. 
 
 The first mention of a source for The Faire Maide of Bristow 
 was made by Collier in 1 847 in his edition of the Roxburghe 
 Ballads, 1 where in a note to Maudlin, the Merchant 's Daughter 
 of Bristol, he says : 
 
 "We might suppose from the title that Day's play 'The Fair 
 " ' Maid of Bristow ' 1605, was founded on this ballad ; tout such 
 " is not the case, although it is probable that the striking incidents 
 " of it were dramatized at the time. ' ' 
 
 Notwithstanding this explicit denial of any connection 
 between the ballad and the drama, Herr Bolte has devoted 
 
 1 A Book of Roxburghe Ballads. J. Payne Collier. 1847. Page 335. 
 
Introduction. g 
 
 considerable space to the former in his article, and since he 
 has done so, it may be well briefly to treat it here. 
 
 The ballad was entered at Stationers' Hall on February 24, 
 1594—5 and is accessible in several places. 1 It is therefore 
 unnecessary to reprint it here. The complete edition is that 
 given by Chappell, which contains three stanzas omitted after 
 lines 148, 192 and 232 in the other copies noted. The story 
 of this ballad is briefly as follows : 
 
 Maudlin, the daughter of a Bristol merchant, is opposed in 
 her choice of a husband by her parents. Her lover therefore 
 departs for Padua, after serenading his mistress, who prudently 
 keeps out of sight for fear of her friends. When he is once 
 gone, however, she determines to follow him, and persuades 
 a ship's captain to take her on board, disguised as a boy. 
 She finds her lover in Padua, but he is condemned to die 
 unless he will recant his faith. This he refuses to do and so 
 Maudlin and the captain 2 decide to die with him. This so 
 moves the judge that he allows them all to return to England, 
 where, her father having died, they are married. 
 
 It can easily be seen that this ballad has little in common 
 with our play. Outside of the faithfulness of the maiden in 
 each case, the circumstances are entirely different. Italy 
 becomes England ; the twelfth century, the sixteenth ; the 
 causes of the condemnation, instead of religious perseverance, 
 are infidelity and suspected murder ; and finally, the characters 
 which make the drama, Florence, Sir Godfrey, Harbart and 
 the rest, are not even hinted at in the ballad. 
 
 The title of the play may have been suggested by the 
 ballad, for the latter was certainly popular, there being three 
 
 1 Bishop Percy's Folio Manuscript. Edited by Hales and Furnivall. 1868. 
 Vol. Ill, p. 374. 
 
 The Roxburghe Ballads. Edited by W. Chappell. Vol. II, p. 86. 
 Roxburghe Ballads. Edited by C. Hindley. Vol. II, p. 384. 
 
 2 Not " die ganze Schiffsmannschaft " as Herr Bolte mistranslates. 
 
io The Faire Maide of Bristow. 
 
 editions of the broadside in the Roxburghe collection and two 
 in the Bagford Ballads, in the British Museum. 1 The number 
 of these later editions points to a frequency of publication about 
 the time of its production and it may well be that the author 
 of our drama chose for his play a title which would recall this 
 famous old ballad. 
 
 Herr Bolte, in his article in the Shakespeare Jahrbuch, 
 says : 2 
 
 " Ob der unbekannte Dichter fur seine so weit gehende Umge- 
 "staltung der Fabel noch bestimmte Vorbilder ausnutzte, vermag 
 " ich leider nicht zu sagen. Allgemeine Anregung diirften ihm 
 ' ' wohl zwei nicht lange zuvor erschienene Volksstiicke gegeben 
 " haben, die Episoden aus der alteren englischen Geschichte roh, 
 " aber lebendig behandeln : Life and Death of Jack Strawe (1593) 
 " und Look About You (1600). In jenem kehrt Richard II unver- 
 " muthet heim und halt im 3. Akte Gericht ; dieses stellt die 
 " Kampfe der Sbhne Heinrich's II wider ihren Vater dar und 
 " zeichnet sich gleich dem Madchen von Bristol durch zahlreiche 
 " Verkleidungen aus. " 
 
 "Allgemeine Anregung " is, of course, a difficult point to 
 discuss, but even this slight connection between these dramas 
 and the Fair Maid must be denied. Jack Strawe has nothing 
 whatever in common with our play. Richard II does not 
 return " unvermuthet heim " ; he is in the play from the first 
 act, and behaves in a manner entirely different from Richard I, 
 in the Fair Maid. Look About You, whose possible connection 
 with our play was probably suggested to Herr Bolte by a 
 marginal note in the Berlin copy, 3 cannot claim even the 
 similarity of a character. The "numerous disguises" of this 
 play are carried out in a totally different manner, and in any 
 
 1 Roxburghe Ballads. Vol. I, p. 232. 1640. This is the edition referred to 
 by Collier. Also, Vol. I, p. 278, 1650 (?), and Vol. Ill, p 376, 1710 (?). 
 
 Bagford Ballads. Vol. I, p. 643, 1670 (?), and Vol. II, p. 643, 1675 (?). 
 
 2 XXXI Jahrgang, p. 130. 
 8 See below, p. 30. 
 
Introduction. 1 1 
 
 case form too universal a motive to serve as the basis of a 
 comparison. 
 
 The model, the absence of which Herr Bolte deplores, is to 
 be found in an anonymous play, entitled A Pleasant conceited 
 Comedie, Wherein is shewed how a man may chuse a good 
 Wife from a bad} credited by Mr. Fleay to Heywood and by 
 Hazlitt to Joshua Cooke, on the strength of the appearance 
 of his name in an old handwriting on the edition of 1602, in 
 the British Museum. This was a very popular play, seven 
 editions appearing between 1602 and 1634, and it certainly 
 deserved the favor it received. It was played by the Earl of 
 Worcester's servants. The plot is, briefly, as follows : 
 
 Young Master Arthur, newly married, tires of his wife and 
 illtreats her, thereby incurring the displeasure of his father 
 and hers, old Master Lusam. Mistress Arthur remains faithful 
 to her husband and resists the advances of Master Anselm, 
 who is smitten deeply with her. Arthur falls in love with a 
 courtezan named Mary, who is beloved by a schoolmaster, 
 Sir Aminadab, and by Brabo, a pander. Mary receives Arthur's 
 suit very kindly, and Anselm again presses his attentions on 
 Mistress Arthur with no better result. Aminadab, becoming 
 jealous, tries to poison himself, and is furnished a sleeping 
 potion by Fuller, Anselm's friend, as a jest. He is about to 
 drink this when he meets Arthur, who takes it away from 
 him, and thinking it really poison, determines to kill his wife 
 with it. He invites his friends to dinner and slips the supposed 
 poison into his wife's cup. She apparently dies, and is buried. 
 Anselm visits her tomb, she comes to life and he takes her to 
 his mother's house where she remains concealed. In the 
 meantime Arthur has married Mary, and she treats him as he 
 deserves. To regain her love he tells her how he has poisoned 
 his first wife for her sake, but she only threatens to inform on 
 him. He tries to hide, and while a fugitive meets his wife 
 
 1 Dodslef 's Old English Plays. Edited by Hazlitt. 1874. Vol. IX, p. I. 
 
1 2 The Faire Maide of Bristow. 
 
 disguised and bewails his faults. She is overjoyed at his 
 repentance, but leaves him, after giving him some aid. Soon 
 after, he is arrested and brought before Justice Reason, and 
 makes no defence. His wife appears in time to save him, and 
 all ends happily. 
 
 The parallelism is best illustrated by the following table 
 of the principal characters, those showing similarities being 
 placed opposite each other : 
 
 The Faire Maide of Bris- How a Man May Choose a 
 tow. Good Wife from a Bad. 
 
 i . Sir Godfrey Umphreville i . Old Master Lusam 
 2. Sir Eustace Vallenger 2. Old Master Arthur 
 
 3- 
 
 Edward Vallenger 
 
 3- 
 
 Young Master Arthur 
 
 4- 
 
 Challener 
 
 4- 
 
 J Young Master Lusam 
 I Master Anselm 
 
 5- 
 
 Sentloe 
 
 5- 
 
 Sir Aminadab 
 
 6. 
 
 Anabell 
 
 6. 
 
 Mistress Arthur 
 
 7- 
 
 Florence 
 
 7- 
 
 Mistress Mary 
 
 S. 
 
 Richard I 
 
 8. 
 
 Justice Reason. 
 
 This correspondence is too strong to be accidental and is 
 further strengthened by the similarity of incident and treat- 
 ment. Act I begins in each play with a dialogue between 
 the husband and his friend. There is a sleeping potion which 
 causes the appearance of death, given in the first case to 
 Mistress Arthur and in the second to Sentloe. Again, in 
 both plays the judge is very quick and unreasonable in mak- 
 ing his decisions, while the apprehension of the unfaithful 
 husband on a charge of murder, his despair and willingness to 
 die, and the disclosure of the person supposed to be dead, 
 are all in the same manner. 
 
 And yet The Faire Maide of Bristow is no slavish imitation of 
 one original. There are no traces of imitation in the phrasing 
 
Introduction. 1 3 
 
 or the vocabulary, and while it cannot be doubted that the 
 author took as his basis How a Man May Choose a Good Wife 
 from a Bad, he has added characters and scenes enough to 
 make what no doubt easily passed for a new play in those 
 times of remodeling and adaptation. The subplots are quite 
 different, and the comic scene between Frog and Douce is 
 entirely new. But perhaps the author's greatest claim to 
 originality lies in the character of Florence. She is more 
 vigorously and realistically portrayed than Mary, and in her 
 absolute infidelity, consistently directed toward the accom- 
 plishment of the one purpose of her life, she is well and truly 
 drawn. The boldness and effrontery with which she casts 
 off one lover for another are carried even into the presence of 
 the king, and then when she is hedged in on all sides, she 
 rises almost to greatness in her contempt of death if only she 
 can drag down with her those who have been the causes of 
 her doom. One cannot help fancying what a great actress 
 would do with this character in the fifth act. 
 
 The source of How a Man May Choose a Good Wife from 
 a Bad is to be found in the Hecatommithi of Giovanni Geraldi 
 Cintio, Part I, deca terza, novella 5, but it is improbable that 
 this novella had any influence on our play, as there are no 
 incidents common to the Italian story and the Fair Maid 
 which do not appear in the earlier English comedy. 
 
 There are also some interesting resemblances between the 
 Fair Maid and an anonymous play, The London Prodigal} 
 which was published in the same year (1605) and played by 
 the same company. This play also has as a hero a young 
 rake, who marries and illtreats his faithful wife. In the char- 
 acter of Weathercock, we may have an echo of old Master 
 Lusam, and there are other similarities, such as the meeting 
 of the husband and the disguised wife, which point to the 
 
 1 Doubtful Plays of Shakespeare. Edited by Henry Tyrell. Page 97. 
 
14 The Faire Maide of Bristow. 
 
 theory that both of the latter plays have the earlier comedy 
 as a common source. 
 
 The parallel passages in the Fair Maid and The London 
 Prodigal have been placed in the notes (lines 571, 872, and 
 978). They are not numerous enough to be conclusive and 
 might easily be made to prove too much. In the absence of 
 any direct evidence, we must account for the resemblance by 
 the borrowing of well received lines, or by the influence of men 
 who were working for the same company. Which was the 
 borrower, it is now impossible to tell, as The London Prodigal 
 was not registered, and so we cannot settle even the priority 
 of publication. 
 
 III. 
 
 The question of the authorship of this drama must begin 
 with an examination of the claims which have been made in 
 behalf of John Day. The origin of its ascription to him is 
 due to Collier and rests upon the following grounds. In 
 Henslowe's Diary there occurs this entry : ' 
 
 " Lent at the apoyntment of Samewell Rowleye, unto John Daye, 
 "the 4 of Maye 1602, in eameste of a play called Bristo tragedi, 
 "as may apere, the some of XX s. Written by himselfe." 
 
 On this Collier makes the following note : 
 
 "This was probably the play printed anonymously in 1605, 
 "under the title of 'The fair Maid of Bristol.' It has been 
 "assigned to Day on the authority of the above entry." 
 
 There are two other entries in Henslowe, referring to this 
 play, on the 23 rd and 28th of May, for forty shillings each. 
 
 This is rather slight evidence on which to give the drama 
 to Day, but since Collier's opinion is always to be considered 
 and especially since W. C. Hazlitt 2 quotes him in his notice of 
 
 1 The Diary of Philip Henslowe. Ed. by J. P. Collier. Page 220. 
 ! A Manual for the Collector and Amateur of Old English Plays. W. Carew 
 Hazlitt. 1892. Page 79. 
 
Introduction. 1 5 
 
 the play, and since The Faire Maide of Bristozu is catalogued 
 in the Bodleian Library under the name of John Day, it is 
 worth while at least to consider the probability of his having 
 had a hand in the play. 
 
 Mr. A. H. Bullen, in his edition of Day, says : l 
 
 "It should be remembered that the Fair Maid is a comedy. 
 " Very little, it is true, is required to turn it into a tragedy; in 
 "fact, it would seem that the author or authors started with the 
 ' ' intention of composing a tragedy, and at the last moment, when 
 ' ' the catastrophe was at hand, determined to give a ' smooth and 
 ' ' comical ' issue to a tragical tale. Possibly the play was intended, 
 "by varying the fifth act, to do duty for a comedy or tragedy, 
 "as in the case of Suckling's Aglaura. Be this as it may, there 
 ' ' is little to remind us of Day in the ' very tragical mirth ' of the 
 "Fair Maid." 
 
 Beyond the similarity of the names, there is no external 
 evidence in favor of the identity of the two dramas ; on the 
 contrary such evidence as there is points the other way. The 
 Bristol Tragedy was entered for the Admiral's men at the 
 Fortune, while the Fair Maid was played at Hampton Court 
 by the King's men, a company for which Day never wrote. 
 This, however, is absolutely conclusive in neither direction, 
 so that we are thrown upon the internal evidence for the 
 decision. 
 
 The Fair Maid is a comedy, or, more strictly speaking, a 
 reconciling drama. But, as Mr. Bullen remarks, it might 
 easily have been a tragedy, and his hypothesis in regard to 
 the double form of the drama receives a certain amount of 
 confirmation in the disproportionate length of the three last 
 scenes and their unquestioned superiority in dramatic force, 
 to the other portions of the play. If it were so, it would be 
 a very early appearance of the alternative fifth act, and all 
 this might be true without proving that Day was the author 
 
 1 The Works of John Day. Edited by A. H. Bullen. 1S81. Page 10. 
 
1 6 The Faire Maide of Bristow. 
 
 of the hypothetical and tragical form. And it needs but a 
 reading of the Fair Maid, to convince anyone who knows the 
 works of John Day that he had no hand in it. John Day was 
 a poet, and beyond a few vigorous metaphors there is no 
 poetry in the Fair Maid. Such a passage as the beginning 
 of Act V, Scene i, of The Isle of Gulls, is quite foreign to the 
 manner of the Fair Maid. 
 
 " Farewell bright sunne, thou lightner of all eies ; 
 
 " Thou falst to giue a brighter beame to rise : 
 
 " Each tree and shrub were tramels of thy haire, 
 
 " But these are wiers for none but kings to weare ; 
 
 " And my rude tonge, striuing to blaze her forth, 
 
 " Like a bad artseman doth disgrace her worth. 
 
 ' ' But heeres the place : vpon this christall streame, 
 
 " Where Cintherea did vnyoake her teame 
 
 " Of siluer doues, to interchange a kisse 
 
 " With young Adonis, shall I meete myblisse : 
 
 " The gentle minits, crownd with christall flowers, 
 
 " Loosing there youthes are growne up perfect howers 
 
 " To hasten my delight : the bashfull moone, 
 
 " That since her dalliance with Endimion, 
 
 ' ' Durst neuer walke by day, is under saile, 
 
 " In steede of sheetes has spread her siluer vaile : 
 
 ' ' Each gliding brooke and euery bushy tree, 
 
 ' ' Being tipt with siluer, were her liuery ; 
 
 " And the dim night to grace our amorous wars 
 
 ' ' Hath stuck nine spheares full of immortall stars : 
 
 ' ' In sted of pearles, the way on which she treads 
 
 " Is strawd with Christall deu and siluer beades." 
 
 Next to his poetry, the most striking characteristic of Day 
 is his satire, which takes in all kinds and grades, and is seen 
 at its best in The Parliament of Bees and in the Prologue to The 
 Isle of Gulls. The only trace of satire in the Fair Maid 
 occurs in the comic scene between Frog and Douce, in which 
 the clown is made to talk in the stilted style of the followers 
 
Introduction. 1 7 
 
 of Lyly. The rest of the play is absolutely free from satire. 
 Then the classical allusions, rather plentiful in Day, are 
 entirely lacking in our play, as is also the free use of Latin 
 such as occurs in Law Trickes, Act V. 
 
 The vocabulary of Day is rich, and extends over many 
 phases of life ; the vocabulary of the Fair Maid is small, 
 monosyllabic, and is limited mainly to the regions of love, 
 fighting and abuse. This disproportion becomes apparent 
 when one hunts for words which both authors use, in order to 
 see if the spelling is the same, and notices how few there are. 
 Long lists of words could be made which Day uses and which 
 are lacking in the Fair Maid. The examples found of words 
 used by both authors, such as " beautious " (F. M.), " beaute- 
 ous " (Day); " leidg " (F. M.), " Leidge " (Day); " angel " (F. 
 M.), "angell" (Day); " corish " (F. M.), " currish " (Day), 
 point, in nearly every case, to a difference of authorship. 
 
 Imagery, found everywhere in Day's work, is rare in the 
 Fair Maid, and when found is of an entirely different charac- 
 ter. Day's figures are fanciful and include personification and 
 that form of metaphor in which the attributes of the com- 
 pared object are assumed rather than stated. For example : 
 
 ' ' Where siluer Arno in her Christall bosome 
 ' ' Courts the fresh banks with many an amorous kisse ; ' ' 
 or, 
 
 "with blunt roweled jests spurgall his sides 
 " Till his soule bleede. " 
 He is fond, too, of extended comparisons, as in Humor out of 
 Breath, IV, 3. 
 
 The little imagery which the Fair Maid contains is generally 
 direct. For example, line 1010 : 
 
 " A harlot's love is like a chimney smoke" 
 Day is sometimes involved and obscure. Cf. Law Tiickes, 
 1,2: 
 
 "Jul. — Your reason, Sir?" 
 
1 8 The Faire Maide of Bristow. 
 
 " loc. — To make thee recoile or with the Souldier to fall off: 
 "is't your countrie manners to corriue a leader being vpon or 
 ' ' before present seruice, as I am ? ' ' 
 
 The language of the Fair Maid 'is clear and straightforward, 
 and the few obscurities can be accounted for as due to a cutting 
 of the play or to printers' errors. 
 
 Humor with Day is light and fanciful and runs to raillery, 
 of which the scene at bowls in The Isle of Gulls may be taken 
 as a specimen. The single example of humor in the Fair 
 Maid, the scene between Frog and Douce, though good of its 
 kind, is broad and, to say the least, not fanciful. 
 
 It is true that the riming retort can be found in both authors, 
 but this was equally true of so many writing at that time that 
 it can hardly have much value as unsupported evidence. 
 
 Results are the same when we consider the question of the 
 metre, and it may be said at once that the proportion of prose 
 to verse is considerably larger in Day. I have made an 
 analysis of four hundred of the lines in the Fair Maid, perhaps 
 sufficient for the present purpose, taken from different portions 
 of the play, 1 and I have compared the results with a similar 
 analysis of the metre of two hundred lines of Humo7' out of 
 Breath, and one hundred of Law Trickes, which I chose as 
 they contain the greatest selection of blank verse of any of the 
 plays that are Day's alone. 2 In considering results of work 
 of this kind we must of course remember that startling resem- 
 blances in figures may mean little, because they represent 
 
 'The lines analyzed are l-ioo, 200-250, 450-500, 600-650, 800-850, 950- 
 1000, and 1150-1200. 
 
 8 1 cannot agree with Mr. Fleay in his attempt, in his Chronicle of the English 
 Drama, Vol. I, p. in, to deprive Day of a portion of Humor out of Breath. 
 The analysis which I made included sections from the parts assigned by him to 
 Day as well as those attributed to "another author," and there was no material 
 difference in their structure. In fact, there was more similarity between Law 
 Trickes and those portions of Humor out of Breath which Mr. Fleay says are 
 not Day's. 
 
Introduction . 1 9 
 
 universal characteristics, while on the other hand, slight dis- 
 similarities may mean much when relatively considered. For 
 example, the proportion of masculine to feminine endings is 
 almost the same, 76 per cent to 9.7 per cent in the Fair Maid, 
 84.5 per cent to 13.5 per cent in Day, 1 and yet this means little, 
 as many other Elizabethan dramatists would furnish the similar 
 figures. On the other hand, the statistics giving the various 
 positions of the caesura show dissimilarities, this being espe- 
 cially true of the caesura after the sixth syllable, which occurs 
 in 19 per cent of the lines in the Fair Maid as against 7.5 per 
 cent in Day, that after the first syllable, 5.75 per cent in Day 
 and % per cent in the Fair Maid, and that after the fifth, 3 1.7 
 per cent in Day and 18.7 per cent in the Fair Maid. Further 
 there are double the percentage of lines in Day which contain 
 two caesuras, and instances occur of three and even four caes- 
 uras, which the Fair Maid does not show. The proportion of 
 rime in Day is 21.7 per cent to 8. 5 per cent in the Fair Maid, 
 and of wrench accents 18 per cent to 10.7 per cent. There 
 are 10.2 per cent of run-on-lines in the Fair Maid and 23.5 
 per cent in Day. Again, when the speech of one of the char- 
 acters ends within a line, the verse is continued by the next 
 speaker in Day, while in the Fair Maid the line is usually left 
 unfinished, and the new speech is begun with a full metrical 
 verse. 
 
 To sum up, the dramas of John Day are poetical and sat- 
 irical, rich in vocabulary and classical allusion, fanciful in 
 imagery, light and pointed in humor, and often obscure and 
 involved on account of the very wealth of these characteris- 
 tics. The Faire Maide of Bristow is written in clear, straight- 
 forward blank verse, in which the poetical element is not con- 
 spicuous, with limited vocabulary and almost entire freedom 
 from allusion and satire. The humor is broad and the imagery 
 
 1 The smaller p ercentages in the Fair Maid are accounted for by the number 
 of incomplete lines. 
 
20 The Faire Maide of Bristow. 
 
 is direct. An examination of the metre shows the play to be 
 different from the works of Day in the main qualities of con- 
 struction and arrangement. So that, considering the wealth 
 of evidence on the negative and the slight foundation on which 
 Collier's statement was based, it is safe to decide that The Faire 
 Maide of Bristow was not written by John Day. 
 
 It is quite another matter to decide the probable authorship 
 of the drama. The only man who was writing exclusively 
 for the King's Company at the time the play was printed was 
 Shakespeare, but Jonson, Wilkins, Tourneur, Barnes and prob- 
 ably Armin, wrote occasionally. The kind of work which 
 Shakespeare and Jonson were doing in 1605 makes their con- 
 nection with the play impossible, and Tourneur is also out of 
 the question, by reason of the very nature of the Fair Maid. 
 
 The only play of Wilkins available for comparison is The 
 Miseries of Enforced Marriage, printed in 1 607, as The Travels 
 of the Three English Brothers was written in conjunction with 
 Day and Rowley. There are no striking resemblances 
 between the metre or the vocabulary of the two plays except 
 in one line. Verse 228 in the Fair Maid reads ■ 
 
 1 ' That I would entertain this as my man' ' ; 
 
 while in Act II, Scene 1, of Wilkins's play occurs the line, 
 
 " That I should entertaine thee for my man." 
 
 Such lines, however, could easily occur independently, and the 
 1 resemblance is about the only parallel that might speak for a 
 common authorship. The Miseries of Enforced Marriage is a 
 comedy, with much the same theme as the Fair Maid — the life 
 of a scoundrel, who deserts his betrothed for gold and ill- 
 treats his wife, whom he marries for the same reason. The 
 drama is not as clear or compact as the Fair Maid and is 
 more than half in prose. There is little of the regularity or 
 character-balancing of the earlier comedy and less subordina- 
 
Introduction. 2 1 
 
 tion of the purely poetical element to the necessities of action. 
 The progress of the play is more frequently interrupted by 
 soliloquies, and the first and second portions are very loosely 
 put together. The metrical analysis showed no especial 
 similarities and there seems to be no reason to assign The Faire 
 Maide of Bristow to Wilkins. 
 
 With Armin it is much the same, a lack of positive evidence 
 without anything conclusive to the contrary. In The London 
 Prodigal, V, I, occur the lines 
 
 " Luce. Oh hear God ! so young an armin ! " 
 " M. Flow. Armin, sweetheart? I know not what you mean 
 ' ' by that ; but I am almost a beggar. ' ' 
 
 Mr. Fleay suggests, in his Chronicle of the English Drama, 1 
 that Robert Armin acted M. Flowerdale. If this be true, he 
 might have written the Fair Maid and have repeated in that 
 play the lines from The London Prodigal with which he was 
 familiar. While no play of his is registered for the King's 
 Company, he was a member of it from about 1599 to 16 10, 
 and might easily have written a play for it. Unfortunately for 
 this hypothesis, the only drama which is unquestionably his, 
 The History of the Two Maids of More Clacke? 1609, is very 
 different in metre and construction from the Fair Maid. No 
 very certain metrical analysis is possible, owing to wretched 
 printing, but there are many more run-on-lines than in the 
 Fair Maid, and there is a free and unnecessary use of Latin 
 which is not found in the earlier play. 
 
 The only extant play which is surely by Barnaby Barnes is 
 The Devil's Charter, which was performed by the King's men 
 in 1606 and was published, " renewed, corrected and amended 
 by the author," in 1607. The play is inaccessible, but the 
 following extract, which I owe to the kindness of Professor 
 
 1 Vol. I, p. 24. 
 
 2 The Works of Robert Armin. Edited by A. Grosart. Occasional Issues. 
 1880. 
 
22 The Faire Maide of Bristow. 
 
 Schelling, will be at once sufficient proof that its author had 
 no hand in the writing of the Fair Maid : 
 
 " High Muse, which whilom virtues patronized, 
 
 " In whose eternall roll of memory 
 
 "The famous acts of princes were comprised 
 
 " By force of ever living history : 
 
 " What shall we do to call thee back again? 
 
 "True chronicler of all immortal glory. 
 
 " When here with mortal men naught is devised 
 
 " But how all stories with foul vice to stain 
 
 " So that alas thy gracious oratory 
 
 " Which with mere truth and virtue sympathised 
 
 " Is silent ; and we poets now with pain, 
 
 " (Which in Castalian fountains dipped our quills) 
 
 " Are forced of men's impiety to plan." 
 
 As will be seen, the style is quite different from that of 
 the Fair Maid, the vocabulary is richer, and there is an abun- 
 dance of rime, together with a frequency of feminine endings. 
 Moreover Barnes was a poet of distinction, which the author 
 of the Fair Maid certainly was not, and the matter of Barnes's 
 poems 1 is romantic, fanciful and replete with classical allu- 
 sions. 
 
 I am sorry to be unable to come to a definite conclusion in 
 this matter of the author, but with such a lack of positive 
 evidence, no other result is possible. The author may be 
 some one totally unknown, of whose many or few produc- 
 tions this single specimen has come down to us. A few 
 affirmative statements, however, after so much denial, may 
 not be out of place. The author was probably an actor, or ', 
 at least a playwright in close connection with one of the 
 companies. This is proved by his constant subordination of 
 the poetical element to dramatic necessities, by the quotations 
 
 1 Parthenophil and Parthenophe. In the English Garner, edited by E. 
 Arber. Vol. V, p. 335. 
 
Introduction. 23 
 
 * from earlier plays 1 which could so easily have slipped into the 
 work of a man accustomed to hearing or speaking them con- 
 stantly, and also by such a reference to the customs of the 
 theatre as that contained in lines 1122—24. That this play 
 was a piece of journeyman work admits of little question, for 
 we have the regularity and balance of characters, i. e., Val- 
 lenger with Challener, Sir Godfrey with Sir Eustace, Florence 
 with Anabell, and Frog with Douce, which is a usual accom- 
 paniment of early work. I am also inclined to believe that 
 the portion from line 791 was written later than that preceding, 
 on account of the superiority in metrical form, its greater free- 
 dom in enjambement and its richer vocabulary. The dispro- 
 portionate length of what is probably the last act, points to a 
 cutting of the play in the earlier portions, which is further ren- 
 dered probable by some obscurities and lack of connection be- 
 tween sentences. These characteristics, together with the oc- 
 casional insertion of alexandrines, strengthen the theory that 
 the play was written by one to whom action was the essential 
 thing. That the play did act well we may consider certain ; in 
 fact, with slight changes, it could be put upon the boards 
 to-day. There is a directness and simplicity of language, a 
 care to make every scene tell in the development, which 
 would insure interest no matter when performed. The char- 
 acters are well drawn, real and distinct. Of Florence I have 
 already spoken ; Anabell is not quite so good, but Herr 
 Bolte's criticism that it is unnatural that she should prove so 
 true to her second lover after giving up her first without a 
 struggle, is not just. We have only to turn to Romeo and 
 Juliet for a similar incident, with the sexes reversed, and 
 besides, Challener, with all his virtues, is not the man to win 
 in a love contest with Vallenger. The latter is one of those 
 characters that decide quickly what they want and lose no 
 time in getting it. He is brave, impulsive, and yet quick- 
 1 See Notes. 
 
24 The Faire Maide of Bristow. 
 
 witted and cool-headed enough when necessary, as is shown 
 by his actions after the fight with Challener, and again after 
 the discovery of Sentloe's body. In the former case, he 
 seizes at once the advantages of the position in which Chal- 
 lener's flight has placed him, and in the latter, he does not 
 indulge in speculations upon the possibility of his having 
 murdered Sentloe in delirium or absent-mindedness. He sees 
 at once the true explanation, and then prepares to die with 
 the same composure with which he proposed to the doctor to 
 poison Sentloe. In his treatment of women he carries out 
 the analysis of his character which the first scene puts so 
 distinctly before us ; he simply demands that they love him 
 and will take no denial. In short he is the sort of man whom 
 women have been loving through all the ages, and to whom 
 women have usually remained faithful, even through abuse 
 and neglect. 
 
 The minor characters are lifelike, and the comic scene is 
 well done. Of course, there are faults in the drama ; there 
 seems no reason why Harbart should have first laid the trap 
 to catch Vallenger and then have freed him from it, nor why 
 the King, who was so annoyed at Anabell's effort to delude 
 him, should take with such calmness Harbart's more success- 
 ful attempt. Most of the King's behavior, however, is in 
 accord with what we know of the character of Richard I, 
 and it is not profitable work to seek out ways in which 
 seventeenth century dramas fail to accord with twentieth 
 century ideas of probability. 
 
 IV. 
 
 It is important, however, to consider the position of the play 
 in the drama of the time. Collier classes it with murder 
 plays ' of the type of Two Tragedies in One. It does not, 
 however, belong in this group, but rather in that which deals 
 
 1 History of English Dramatic Poetry, Vol. Ill, p. 50. 
 
Introduction, 25 
 
 with the sufferings of a faithful though illtreated wife. The 
 theme is a universal one and, beginning with Petrarch's Latin 
 translation of Boccacio's story of Griselda, in the Decameron 
 (tenth day, tenth novel), it can be found in many forms, both 
 before and after the date of the publication of The Faire Maide 
 of Bristow. As an interesting illustration, the Spanish play 
 of El Mayor Imposible^ of Lope de Vega, may be mentioned. 
 
 In England, beginning with Patient Grissil, in 1599, the 
 motive ran through quite a series of plays, the most important 
 of which are given. A distinction is to be made in this matter 
 between those plays which have the general motive only and 
 those in which the faithful wife is also the victim of abuse or 
 neglect by a jealous or rakish husband. The wider group 
 includes, after Patient Grissil, the subplot of The Shoemaker's 
 Holiday, the Lassingberge-Lucilla episode in The Wisdom of 
 Dr. Doddipoll, How a Man May Choose a Good Wife from a 
 Bad, The Wise Woman of Hogsdon, Othello, Measure for 
 Measure, The London Prodigal, The Miseries of Enforced Mar- 
 riage, The Yorkshire Tragedy, A Winter's Tale, the subplot of 
 The White Devil, The Duchess of Malfi, the Second Part of The 
 Honest Whore, The Fair Maid of the West, and Match Me in 
 London. 
 
 From the narrower group The Shoemaker' s Holiday, The 
 Duchess of Malfi, The Fair Maid of the West and Match Me in 
 
 1 Lope de Vega, Comedias, Zaragoza, 1647, Part XXV. The exact date of El 
 Mayor Imposible is not known, but Professor Rennert has discovered, from a 
 letter of Lope de Vega, that it was written, in all probability, in 1614. J. L. 
 Klein, in his Geschichte des Dramas, 1874, Vol. X, p. 173, compares this drama to 
 The London Prodigal, and further says: "Der ' London Prodigal' scheint uns um 
 deswillen auszeichnenswerth, weil derselbe in ostwestlichen Sagenkreise dieses 
 Motivs ehelicher Frauenstandhaftigkeit und Selbstaufopferung, seit der Griseldis, 
 uuseres Wissens, der einzige Versuch ist, das Problem in engbiirgerlicher Sphare 
 zur Geltung zu bringen." This statement, in view of the existence of How a 
 Man May Choose a Good Wife from a Bad, The Wise Woman of Hogsdon, The 
 Miseries of Enforced Marriage and The Faire Maide of Brislow, seems truly 
 remarkable. 
 
26 The Faire Maide of Bristow. 
 
 London are to be excluded, leaving the others to form the 
 division in which to the " faithful wife " motive is to be added 
 the husband's abuse or neglect. 
 
 A still narrower group may be made, consisting of five 
 plays which bear more especial resemblance to one another 
 in plot and characters. They are How a Man May Qwose a 
 Good Wife from a Bad, The Faire Maide of Bristow, The Wise 
 Woman of Hogsdon, The London Prodigal, and The Miseries of 
 Enforced Marriage. The plots of the two first have already 
 been given. 
 
 The plot of The Wise Woman of Hogsdon is as follows : 
 Young Chartley, a gallant and a spendthrift, is in love with 
 Luce, a merchant's daughter, and offers to marry her secretly. 
 She consults the Wise Woman in regard to the marriage, and a 
 date is set when the couple are to be married at the Wise 
 Woman's house. In the meantime Chartley's former betrothed, 
 who is called " the second Luce," comes up from the country 
 and also seeks the Wise Woman's help to recover her lost 
 lover. Discovering how things stand, she disguises herself as 
 a boy and takes a position as servant in the house of the Wise 
 Woman. Boyster, another lover of Luce, has also appeared 
 on the scene, and the Wise Woman, to revenge an insult 
 to her by Chartley, arranges a stratagem by which he marries 
 the second Luce and Boyster marries Luce. Both pairs of 
 lovers are separated for a time and Chartley, tiring of his wife 
 before he sees her again, falls in love with Gratiana, to whom 
 he becomes betrothed. This betrothal is broken by the 
 arrival of his father in London, and the Wise Woman's trick 
 being discovered in time, Chartley takes his true wife, prom- 
 ises to reform, and all ends happily. 
 
 In The London Prodigal, Matthew Flowerdale, a city rake, 
 after spending all the money he has and borrowing some from 
 his new serving man, who is his father disguised, tries to 
 recoup his fortunes by a marriage with Luce, Sir Launcelot 
 
Introduction. 2J 
 
 Spurcock's daughter. As they come from church he is 
 arrested at the suit of his uncle, but is finally forgiven the 
 debt at the intercession of his wife. Sir Launcelot, however, 
 refuses to allow his daughter to go with her husband, and, 
 when she persists in following him, disinherits her. Flower- 
 dale, seeing she will bring him no money, casts her off and 
 becomes a common thief on the streets. Luce disguises her- 
 self as a Dutch servant and after seeking employment in the 
 house of her sister Frances, who has also just been married, 
 meets Flowerdale in misery on the street and helps him. He 
 is arrested on suspicion of having murdered her and is saved 
 by her revealing herself. He repents and is forgiven by his 
 wife and by his father who also conveniently reappears. 
 
 In The Miseries of Enforced Marriage we have another 
 rascal-in-ordinary, William Scarborow, who deserts his 
 betrothed, Clare, and marries Katharine for the money she 
 will bring him. He in turn deserts her, and even offers vio- 
 lence to her and his children, excusing himself on the plea 
 that he was forced into the marriage by his guardian, Lord 
 Falconbridge, and his uncle, Sir William Scarborow. Clare 
 kills herself and there is quite a rambling story for a subplot, 
 but finally, after he has ruined every one connected with him, 
 Scarborow repents and is forgiven. 
 
 It will be noticed that in all five plays we have a rake and 
 spendthrift who deserts his wife for gain or the love of a 
 courtesan, maltreats the wife who remains faithful to him, and 
 after he has sinned sufficiently, is taken into grace again and 
 even rewarded. There are certain other characters, such as 
 the father of the wife, the father of the husband, and the 
 wife's lover, who appear in at least four of the plays, and in 
 addition there are other characters shared by two or three of 
 the dramas, in varying combinations. Their interrelations 
 are best shown by the appended diagram, which may prove 
 of interest not only on account the light it throws upon the 
 
28 The Faire Maide of Bristow. 
 
 motive of our play, but also because it points to a proba- 
 ble interdependence of the dramas of the time, rather closer 
 than is now generally supposed. If such intimate relations 
 can be established for this group of plays, there is every rea- 
 son to suspect a similar connection between others, and in 
 other groups. 
 
 V. 
 
 The translation of the play, made by Ludwig Tieck, has 
 only recently been published. 1 Tieck had caused to be made 
 complete copies of fourteen and partial copies of twelve other 
 dramas of the Elizabethan time, during his visit to London 
 in 1 8 1 7, and of most of these he published translations in the 
 first and second volumes of his Vorschule Shakespeares, 
 in 1823 and 1829. For the third volume he had selected 
 Mucedorus, The Faire Maide of Bristow and Nobody and 
 Somebody, but the volume was never published. 2 
 
 The translation is in the main faithful, and the order of the 
 speeches has been rigidly followed. The usual disadvantages 
 under which a translator of verse labors, have been offset in 
 this case by the opportunities presented to fill out the incom- 
 plete lines of the original, thus making the translation, on the 
 whole, smoother. And yet a thorough comparison, for 
 which the following passage will serve as an example, will 
 show, I think, no improvement in vigor or dramatic choice of 
 words : 
 
 " Dem Schornsteinrauch vergleich' ich Hurenliebe ; 1010 
 
 " Er zittert zwischen zwei verchiednen Winden, 
 " Bald schwebt er links, bald wieder rechts dahin, 
 " Und eigentlich gehort er keinem an. 
 
 1 Das Schbne M&dcken von Bristol. Herausgegeben von Johannes Bolte. 
 Shakespeare Jahrbuch XXXI, 1895. Page 126. 
 
 2 See for Tieck's connection with the English Drama, Niemand und Jemand, in 
 the Shakespeare Jahrbuch, XXIX und XXX Jahrgang, Weimar, 1894, p. 4, and 
 Mucedorus, Berlin, 1893, both edited by J. Bolte. 
 
Introduction. 
 
 29 
 
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30 The Faire Maide of Bristow. 
 
 " Ihr Auge strahlt von Hass und bbser Lust, 
 
 " Verrath und Trug beherrschet ihre Brust, 1015 
 
 " Und leicht zerbrechend Glas ist ihr Versprechen. 
 
 " Ihr Denken fliesst gleich einem Strom dahin ; 
 
 " Ihr Wort ist Oel, das dennoch Rost erzeugt ; 
 
 " In Untreu sind sie treu nur stets erfunden, 
 
 " In nichts bestandig als in Unbestand, 1020 
 
 " Gefrass'ge Krebse an des Mannes Freiheit." 
 
 Tieck has made some curious mistakes. For example, 
 line 8, 
 
 ' ' To dote so much over this female kind ' ' 
 becomes 
 
 ' ' So sehr vernarrt zu sein in dieses Kind, ' ' 
 
 where the sense is wrong, even allowing for freedom of 
 translation and the idiomatic use of " kind " in German. The 
 slip can be explained, perhaps, by the similarity of the Eng- 
 lish and German words. Or again, line ig 
 
 " She is the Fewelt that doth heat my bloud,' 
 
 is translated 
 
 "Sie ist das Kleinod, das mein Blut erhitzt," 
 
 which is truly a remarkable property to attribute to a "jewel," 
 though Tieck may of course have supposed it an allusion 
 drawn from " unnatural natural history." 
 
 The English copy which Tieck used for his translation 
 has upon its margins several notes, some illegible, and nearly 
 all misleading, like the one which states that the play " hat 
 manches im Plan, besonders in der Entwicklung, von Look 
 About You, dessen Verfasser man auch nicht kerit.'' Whether 
 these notes are by Tieck or not is hard to say, as both these 
 and the specimens of his handwriting at my disposal differ 
 among themselves. 
 
Introduction. 3 1 
 
 VI. 
 
 In editing the play it has been my purpose to give as nearly 
 as possible an exact reproduction of the original quarto. 
 The text is an accurate copy of that in the British Museum. 
 Wherever words or letters or stage directions have been in- 
 serted they have been enclosed in brackets. Proposed 
 changes in spelling and in arrangement of lines have been 
 inserted in notes at the bottom of the page, while parallel pas- 
 sages and definitions of words have been placed in the notes 
 that follow the text. In suggesting changes in the arrange- 
 ment of the verses, consideration has been paid not only to the 
 smoothness of the lines, but also to the characteristics of the 
 author's blank verse. It would have been easy in some cases, 
 by leaving out words or supplying them, to make perfect 
 verses, but since the author himself was careless about such 
 matters, and since the printing, considering the time, is accu- 
 rate, it has seemed useless to make many changes, and 
 those indicated are suggested rather by way of illustration 
 than with any claim to completeness. The quarto had no 
 scenic divisions ; Tieck divided the play into thirteen scenes 
 and Herr Bolte arranged these into five acts. I have seen no 
 reason for changing their arrangement. 
 
TEXT OF THE PLAY. 
 
THE 
 
 FAIRE MAIDE 
 
 of B r i/t o w 
 
 As it was plaide at Hampton, before the 
 
 King and Queenes moft excellent 
 
 Maiefties. 
 
 Printed at London for Thomas Pavyer, and are 
 
 to be folde at his mop, at the entrance 
 
 into the Exchange 1605 
 
PERSONS IN THE PLAY. 
 
 Richard I, King of England. 
 
 The Earl of Leicester. 
 
 The Earl of Richmond. 
 
 Sir Godfrey Umphreville. 
 
 Sir Eustace Vallenger. 
 
 Edward Vallenger, his son. 
 
 Challener, afterwards disguised as Signor Julio, an Italian 
 
 doctor. 
 Sentloe. 
 
 Harbart, afterwards disguised as Blunt, a serving man. 
 Master Chambers, a gentleman of Bristow. 
 Frog, servant to Sir Godfrey. 
 Jacques, servant to Challener. 
 Constable. 
 Keeper. 
 Messenger. 
 
 Lady Ellen Umphreville. 
 ?-%-/*.*■ ■-- Anabell, her daughter. 
 If yi**iC> Florence, a courtesan. ^> <r ^->- 
 
 Douce, serving woman to Lady Umphreville. 
 
 (37) 
 
THE FAIRE MAID OF BRISTOW 
 
 [Act i, Scene i] 
 
 Enter Challener and Vallenger. 
 
 Chal : Come, Vallen[ger] let's to Sir Godfries house, 
 I know there will be reueling to night 
 This is his birth day ; and he welcoms all, 
 Faire Anabell his daughter is my loue, 
 
 There shalt thou see the Idoll of my thought, 5 
 
 Faire Bristow's miror and my heart's delight. 
 
 Val. Friend Challener, I wonder at thy humor, 
 To dote so much over this female kind 
 That charms thy senses makes thy eie sight blind. 
 
 Chal. Thou art an enemy to women still, IO 
 
 I prethee what doth best agree with thee. 
 
 Val. To see my hounds, to chase the fallow deere, 
 To see my fachon strike the partridge dead. 
 To heare my horse careere, to drink full healths, 
 And not liue puling for an nounce of Beauty. 1 5 
 
 Chal. I love to see my hounds as well as thee, 
 My horse, my fachon, and healthes when time serues, 
 But aboue all my mistres I prefer, 
 She is the Fewelt that doth heate my bloud, 
 And therefore Vallenger, for my sake goe 20 
 
 And see, the gallants will be here to-night. 
 
 Val. Yfaith you bind me to a mighty task 
 He see your Lady and your Ladies maske, 
 Then prethee peace here will we keep our stand. 
 
 Chal. For by the Drum the Maskers are at hand. 25 
 
 Enter Sir Godfrey, Umphreuil, his wife, his daughter, and the 
 Maskers to dance. 
 
 (39) 
 
40 The Faire Maide of Bristow. 
 
 J ^ God. Now, gentlemen, your welcome to my house, 
 Good maister Challener, and your honest frend, 
 So are you all yong gallants, euery one, 
 But we forget ourselues, boddy of me, 
 
 Where be these Ladds, what shall we haue 1 30 
 
 No dauncing after dinner ? Ho, up with the tables, 
 If they have dined within, and come yong Ladds now to 
 your dance againe. 
 
 Here they dance and Vallenger speaks. 
 
 Val. [aside] False tongue that spoke such blasphemy 
 before, 
 That I dispraised, now doth my soule adore. 
 
 Chal. How dost thou like my loue now Vallenger. 35 
 
 Val. [aside] O shees deuine and I become her thrall. 
 
 Chal. Doth Bristow yeeld her fellow, prethee speake. 
 
 Val. A thousand, [aside] I must hence or else my hart 
 will break. 
 
 Exit. 
 
 Chal. What meanes my frend in such a humour goe, 
 He know the cause before I leaue him so. 40 
 
 Exit Challener, and Vallenger. Here the daunce ends. 
 God. Gentlemen, I thank you all 
 Lets in to supper tho the cheare be small 
 
 Exit the Maskers) 
 
 [Scene 2] 
 Enter vallenger and Challener. 
 
 Chal. Vallinger, thou art a traitor to thy frend. 
 val. Not to my frend but alwaies to my foe. 
 
 1 Query. Where be these lads ? 
 
 What, shall we have no dauncing after dinner ? 
 Ho ! Up with the tables if they have dined within, 
 And come yong Ladds, now to your dance againe. 
 
The Faire Maide of Bristow. 41 
 
 Cha. Why dost thou loue the saint I do adore 45 
 
 val. To anger thee I swear to loue her more. 
 Cha. I loued her first, when thou didst loue disdaine. 
 val. I loue her now, therefore thy loue is vaine. 
 Cha. Forsweare to name her else thou art my foe. 
 val. Forsweare my Anabell, hence dotard go, 50 
 
 Cha. Prepare thee Vallener it is decreed. 
 For Anabell, or thou ore I must bleed ? 
 
 val. On Sir tis welcome spare not but thrust home. 
 
 Here they fight, Vallenger falls downe 
 And Challener flies away, Vallenger cals 
 for helpe, Sir Godfrey his wife and his 
 daughters, 1 comes forth with lights. 
 
 Va. Some Gracious Body helpe me I am slaine. 
 
 Go. Whose that which cals for help, gods pitty wife, 55 
 The Gentleman, lies bleeding here that came 
 With maister Challen [er]. 
 I pray Sir speake who hath hurt ye thus. 
 
 val. The villen Chalener hath almost slaine me. 
 
 Go. Challener, why I thought you had bin frends. 60 
 
 What was the matter Sir may I know it ? 
 
 Va. About your daughter, and while she was dancing 
 I praised her gesture and her comely grace, 
 But Vallenger 2 most like a liberall villaine, 
 Did give her scandelus Ignoble termes, 65 
 
 Which I rebuked him for whereopon 
 We drew our weapons, I by chaunce being downe, 
 The coward villaine thus hath wounded me. 
 
 God. How say you wife, did not I say so much, 
 He was a Cutter and a swaggerer, 70 
 
 1 Evidently a mistake for "daughter" as no other daughter is mentioned in 
 the play. 
 
 3 Mistake for Challener. 
 
42 The Faire Maide of Bristow. 
 
 He have my child, no, no, he aymes amisse, 
 
 Go presently make search thrughout the Citty, 
 
 Where ere you find him carrie him straight to prison, 
 
 Looke to him, come Sir, since your hurt 
 
 Was about my girle, you shall not from 1 75 
 
 My house till you are thorow whole. 
 
 Va. I thank you Sir, I am much bound to you. 
 
 Go. Come Sir my wife and my daughter shall be 
 your surgeon, come helpe him in : softly knaues I say. 
 
 Exit omnes. 
 
 [Scene 3] 
 
 Enter Harbert, sentloe and Florence, 
 a Courtizan. 
 
 Har. I prethee, sentloe leaue this Idell life 80 
 
 That will undoo thee, if thou followes it, 
 Art thou so fond ouer so light a thing, 
 Dost thou exspect her lust before my loue 
 Dost thou not see thy sin nor yet thy shame, 
 Thy reputation, honor, nor thy name. 85 
 
 Sent. I prethee harbart peace content thy selfe, 
 she whom I loue, thou seest loues me againe 
 thinks thou that I so long haue seen the worlde, 
 and do not know my frend now from my foe. 
 
 Har. She whow thou thinkst wil proue thy greatest 
 
 frend, 90 
 
 Will proue a serpent and a cockatryce ; 
 For what is she but a common stall, 
 That loues thee for thy coine, not for thy name, 
 Such loue is beastly, rotten, blind and lame. 
 
 Sent. Forbeare me this, and chid me for ought else. 95 
 
 1 Query. Was about my girle, you shall not from my house 
 Till you are thorow whole. 
 
The Faire Maide of Bristow. 
 
 43 
 
 Har. Leave this, and undertake what likes thee best, 
 Leaue her and then my thoughts will be at rest. 
 
 Flor. And why sir leaue me, for your companie, 
 V I would thy loue were equall unto mine, 
 
 Then Sentloe should be sure he had a frend. 100 
 
 Har. As thine, Ide rather hang myselfe, 
 Sentloe leave England for a little space, 
 Goe to braue Richard in the holie Land, 
 the warres will teach thee to forget thy love. 
 
 Flo. Will Sentloe leave hir, that doth love him so, 105 
 
 for thy sake will I go in russet, 
 O Ly in a cottage, eat what so thou please, 
 
 Rather then I will want thy companie, 
 I will become as mild and duetyfull, 
 
 As ever Grissel was unto hir lord, no 
 
 And for my constancie, as Lucr[e]ce was, 
 And if that Sentloe will but live with me. 
 
 Sent. I know it sweet, when I from thee depart, 
 Then let my Luke warme bloud, forsake my hart, 
 Harbert you wrong me, to abuse her thus. 115 
 
 Har. Thou wrongst thyselfe, [and] me, and all thy frends, 
 But if thou wilt not leaue her company 
 I vow my frendship [un] to thee is cold. 
 He leaue thee to the humors of thy youth, 
 To one that hath nor honestie nor truth. 120 
 
 Sent. What dost thou threaten me, go wher you please, 
 Harbart your companie contents not me, 
 Leaue me, ile leaue thee first, 1 
 And so farwell : come loue lets hence 
 
 To Bristow will we go, 125 
 
 Who cares where Harbart be or frend or foe. 
 
 [Exeunt Sentloe and Florence.] 
 
 1 Query. Leaue me ? Ile leaue thee first. And so, farwell. 
 Come loue, let's hence, to Bristow will we go. 
 Who cares where Harbart be, or frend or foe ? 
 
44 The Faire Maide of Bristow. 
 
 Har. O how unbrideled is the course of youth, 
 That takes his frend to be his greatest foe, 
 And thinks the counsell that should do him good : 
 Like poison, or as the herbe Draconis, 1 30 
 
 Well, tho thou scorne thy frend that holds thee deare, 
 He will not leave thee in extreamity, 
 Thou art gone to Bristow, thether will I go, 
 Where I will prove a frend and not a foe. 
 
 Exit. 
 
 [Act 2, Scene 1] 
 
 Enter Sir godfrey, vallinger, his wife and his 
 daughter. 
 
 god. Sir I am glad you are so well recouered 135 
 
 And for the motion which you made to me, 
 Touching my child, I promise you truly Sir, 
 I do not know the man in Bristo, 
 That I affect more than I do your [s] elfe, 
 
 Chal. 1 Sir I haue found it, and I wish I may 140 
 
 Make satisfaction for your good regard, 
 And louing care that you have had of me, 
 So please you sir to know your daughter's mind, 
 Which way her maiden thoughts are most inclind, 
 
 Enter a messenger with a letter. 
 
 Val. From whom the letter. 145 
 
 Mes. From your father Sir. 
 
 He reads the letter. 
 
 God. Come hether wife, daughter a word with you, 
 I know that once thou didest loue Challener, 
 But he is fled, thou seest a swaggering fellow, 
 
 1 Mistake for Vallenger. 
 
L_ 
 
 L 
 
 The Faire Maide of Bristow. 45 
 
 Tell me, my girle, wilt thou be ruled by me, 1 50 
 
 And ile provide a man fit for thy turne. 
 
 Anab. Faith whosoeuer you shall thinke meet. 
 
 God. Why thats well sed my wench, ther spok an angel 
 Looke yonder what saist thou to yong Vallenger, 
 He is a man as twere compleat of waxe, 1 5 5 
 
 His father is an honorable knight, 
 A Challener, a very stock to this, 
 Love him, my girle, say as I say, do. 
 
 An. [aside] I neuer heard a father labour more, 
 To win his daughter that was won before. 160 
 
 Worn. Daughter, what say you to your father. 
 
 Go. Why wife I know what she would say already, 
 She has loued Challener. And would thinke ' 
 Her fond in leauing him to soone to chuse another, 
 And thinks we would be angry, 165 
 
 If she loved Vallenger, tut use thy mind 
 1 Ana. Father I know these words are all but iests, 
 [_ Dispose euen as it likes you best. 
 
 Go. Well sed my girle then Vallenger is he, 
 What say you Ellen do you not agree. 170 
 
 Worn. What liks you two, is neuer Crosse, 
 Mine is the care, but yours is the losse. 
 
 Go. Now maister Vallenger, good news a gods name 
 From whence is that letter Sir may I know, 
 
 Val. You may Sir God-Frey. this letter is from my 2 175 
 Father Sir, who to morrow comes to Bristoe, 
 And meanes to soiorne heere all the winter time. 
 
 God. He shall be welcome, I would my house 
 Were thought fit for his entertainment, 
 
 But son, so may I call you now, 1 80 
 
 And if that you agree how say you Sir. 
 
 1 Query, She has loued Challener, and would thinke her fond 
 
 In leauing him to soone to chuse another. 
 
 2 Lines 175-7 are probably prose. 
 
46 The Faire Maide of Bristow. 
 
 Va. Sir I wish it were to night before to morrow, 
 And by your daughters leaue, seale it with this kisse. 
 
 Go. Wei sed harts youle neuer be younger, 
 Lets in to get all things in readines. 185 
 
 Exit Omnes. 
 
 [Scene 2] 
 Enter Challener, his man and a Gentleman of Bristow. 
 
 Chal. Good Mai. Chambers, youre welcome Sir to London, 
 how farr 1 our frends at Bristo, Maist. Chambers. 
 
 Cham. M. Challener, all well, your frends at Bristo, 
 Would be glad to see you. 
 
 Chal. Indeed I dare sweare that I haue some friendes 190 
 There, but among all, how doth yong Vallenger ? 
 
 Cham. O the man you hurt. 
 
 Chal. Euen hee. 
 
 Cham. Exceeding well, he is at Sir God-freys house, 
 And is on Thursday next to be espoused 195 
 
 To beautious Anabell, the old knights daughter. 
 
 Cha. 1st possible ? 
 
 Cham. Tis as I tell you Sir, 
 But maister Challener I am in some hast, 
 
 And pleaseth you soone to come and sup with me, 200 
 
 He tell you then the matter more at larg. 
 
 Exit gentleman. 
 
 Cha. Fair Anabell married to Vallenger, 
 v The newes doth run like yse through all my vaines, 
 Is Anabell married to Vallenger ? 
 
 A faithless woman, trothles and unkind, 205 
 
 Won with a word 2 of labour, lost like wind. 
 
 ' " fare." 
 
 • *' world," see note. 
 
The Faire Maide of Bristow. 47 
 
 I could rend my flesh and teare my hair, 
 Married to Vallenger, what to my foe ? 
 By heauen if all my wealth were in the sea 
 
 And I left desprate, suckerles, and bare, 210 
 
 It would not halfe so much haue gauld my hart, 
 As this same newes, this fatall deadliness. 
 
 Ja. What cheere you maister neuer be so sad, 
 Tut let her go more wenches may be had. 
 
 Cha. No none like her, but I will straight from hence, 215 
 With my owne personage I will dispence ? 
 
 1 prethee Jacques get me a Docters weed, 
 For unto Bristow will we with all speed, 
 
 There will we see the Bride-groome and the Bride, 
 
 Get straight Post horses, for this night He ride, 220 
 
 And presently get me a Docters tire, 
 
 Till I am at Bristow, each part is one fire. 
 
 Exit omnes. 
 
 [Scene 3] 
 
 Enter Sentlo, and Harbert, disguised like 
 a seruingman. 
 
 Se. Did maister Herbert then send you to me. 
 
 Blu. How think you, he told he set it in the letter. 
 
 Se. Dost thou know what he hath written here. 225 
 
 Blunt. Not I nor I greatly do not care, 
 
 Se. Heere he desires me as ere I tendred him 
 That I would entertain this as my man. 
 
 Blunt. You may if you will, if you will not you may chuse, 
 
 Se. I prethee what is thy name ? 230 
 
 Blu. Blunt. 
 
 Se. Blunt name ? Blunt nature ? 
 Heere my frend doth write, 1 
 
 1 Lines 232-3 to be read as one verse. 
 
48 The Faire Maide of Bristow. 
 
 Though he be somewhat stoburne in his wordes, 
 
 Yet he is of confirmed honesty, 235 
 
 Well Blunt I entertaine you Sir, 
 
 How now, sweet loue, whose that. 
 
 Enter Florence and Frog. 
 
 Fl. Mary sweet hart tis Sir godfreys man, 
 That comes to bid us to his daughters marriage. 
 
 Frog. I Sir my name is Frog : goodman Frogs son 240 
 Of Frog Hall, that am sent from my maister, 
 To desire you and the Gentlewoman, 
 To make a step to walke, or as it were to 
 Come, or approach, to dinner ? This is all Sir. 
 
 Blunt. Do you heare Sir, is this my mistres. 245 
 
 Se. I Blunt. 
 
 Bl. Is she not a Whore ? she lookes like one ? 
 
 Se. Peace, Sirrha on your life 
 
 flo. What sausie merchant haue you got there, 
 Frog break his pate? 250 
 
 frog. No by my faith, hees like one would sooner break 
 mine. 
 
 se. Well Frog tell thy Maister I will not faile. 
 f flo. Sweet hart shall I go in this gowne ? 
 
 Se. The time is to short to make another. 
 
 Blunt. Is not that gowne good enough for a whore ? 255 
 <eZL Flo. By heauen if you maintaine this Rascall slaue, 
 
 To abuse me, keep him and let me go. 
 
 Bl. Before an honest servant, let him. 
 
 Se. Go to, peace sirha, no more. 
 
 Bl. I haue done Sir : [aside] Harbert, whether wilt 
 thou ? 260 
 
 Thy loue unto thy frend makes thee forget 
 Thy selfe, therefore no more. 
 
 Se. I prethy sweet lam content thy selfe, 
 
 P 
 
The Faire Maide of Bristow. 49 
 
 This fellow was sent me from a speciall friend 
 Tho he be blunt yet [he] is very honest. 265 
 
 j£- flo. I could be content to loue him well enough, 
 
 ' ^ So he could afford me better words. 
 
 Blu. Well I wil speake no more what shall offend you 
 [Sent.] Lets go sweet hart, therefore 1 blunt come goe you 
 along, 
 
 Sir godfrey staies, therefore we do him wrong, 270 
 
 [Blunt] Sent. 2 Thou wrongest thyselfe, God send thee to 
 amend 
 And wouldest do further wert not for thy friend. 
 
 Exit omnes. 
 
 [Act 3. Scene 1] 
 Enter Sir Godfrey, Sir Eustace, Mother and Anaball. 
 
 Eust. Sir Godfrey umphreuile, my honored Sister, 
 My bony bryde, and this fayre company, 
 
 How it glades old Eustace Vallenger 275 
 
 To see this good ocasion of our mirth. 
 Had my ould true harded Sara lyued, 
 To haue seen the maraige of her deere son 
 And in soe good and worshipfull a stock, 
 As ould umphrevilles : well twas a woman 280 
 
 Few such liue now : you ould foolish eies 
 Will you be watring still. 
 
 Worn. She was a wise and virtuous gentle woman 
 The poore will say so. 
 
 God. I hope my child will imitate her steps. 285 
 
 Eust. Come Anaball thou now must be my wife, 
 My huswife and my housekeper, and all, 
 I know thou hast bin bred up for a huswife, 
 
 1 Inserted wrongly, under the influence of " therefore " in the next line. 
 ' Should be inserted two lines above. 
 
50 The Faire Maide of Bristow. 
 
 Thy husbands a wild boy I confes. 
 
 But let him stay and keep thee companye. 290 
 
 Or by the holy roode he roostes not heer. 
 
 But brother, heeres an Italian docter thats com 1 - 
 
 mended to us by especiall friends, 
 
 Whom we must intertaine with good regard. 
 
 Ho, whose within there ? 295 
 
 Enter vallenger, Challiner like a Docter, Sento, 
 Anabell, Florence. 
 
 Val. Doo you call Sir ? 
 
 Eu. Fy. Fie, Ned, you trifle out the time. 
 
 Va. Sir I was welcoming this gentleman, 
 This gentlewoman and this docter, 
 Being strangers here in Bristow. 300 
 
 Go. Signeor Julio I understand your called sir. 
 
 Doc. That is my name Sir 
 
 Go. Right reuerent Docter your most welcom hether, 
 My house or what else, is at your command. 
 
 Eust. The like say I sir, be bould thereof 305 
 
 Doc. Most honoured knights whatsoeuer lies in mee, 
 Commaund my best indeuer. 
 
 Eu. Com mistresse Florance you must knowe 
 That your [wel] come to Bristow. 
 And must now help to grace our Bride. 3 10 
 
 Flo. With all my heart Sir Eustace at her service 
 
 va. Sir, maister Sentloe is the man I chuse, 
 To entertaine the bryde, he giues me leaue 
 To welcome Mistress Florance. 
 
 go. Come brother you and He confer w' 2 M. Docter. 315 
 
 Flo. What on your wedding day and change, 
 
 1 Query. But brother, heeres an Italian docter thats 
 
 Commended to us by especiall friends, 
 1 Abbreviation for " with." 
 
The Faire Maide of Bristow. 5 1 
 
 Is your brides beauty les esteemed then mine, 
 
 va. The bee that Sucks the bitter Hemlock flouers, 
 
 When that he comes to tast the violet 
 
 Doth count his former food as trash and weedes 320 
 
 Thou art the Violet the bitter Hemlock shee 
 
 I blind before but now mine eyes doth see. 
 
 Doc. [aside] I ouerhard thee, thou base Vallenger. 
 
 That such an angell should indure the euell, 
 
 To linke her [sjelfe to that insatiat deuill 325 
 
 go. Come we discourse to long, we shall haue 1 
 
 Time enough for conference. 
 
 va. [aside] What will you be so coy. 
 L- Flo. [aside] Yfaith you men are so decytfull, 
 
 2>' That shees a fool will credit what you say, 3 30 
 
 Eust. Why Ned what meanest thou 
 Va. Sir but one word with Master Docter, I com, 
 
 [aside] Well I will compasse thee whatsoeuer befal. 
 
 Exit all but Vallenger and the Docter. 
 
 Sent. Well since the bride doth giue me leaue. 
 He be so bold as to haue a Dance. 335 
 
 Exit. 
 
 va. Docter, a word. 
 
 Doct. With me sir, I with thee 2 
 
 va. Men of thy sort are [s]worne to secresie, 
 But further me and keepe my counsell. 
 
 1 These lines can be arranged in blank verse as follows, 
 
 Go. Come, we discourse to long, we shall haue time 
 Enough for conference. 
 
 Val. What, will you be 
 
 So coy ? 
 
 Flo. Yfaith, you men are so decytfull, 
 But it is more probable that they are to be read as prose, as the author is not 
 accustomed to divide his lines in this way. 
 
 ' Query. Doct. With me, sir ? 
 
 Val. I (aye) with thee. 
 
5 2 The Faire Maide of Bristow. 
 
 In that which I shall here impart to thee 340 
 
 And He give thee a hundred pounds in gould. 
 
 god. 1 Sir here's my hand, whatsoeuer lies in me, 
 You shall command my hart and secresie, 
 
 [Val.J It is enough then Docter thus much know, 
 Tho happely it may seem stranng 2 to thee. 345 
 
 That on my marriage day I should transgresse 
 So far as now I must reueale to thee, 
 But think tis loue, blind loue that leads me on, 
 That conquers Gods and much more mortall men. 
 
 do. Delay not sin 3 but speak your mind at full. 350 
 
 va. Then thus in Briefe Anabel is my wife, 
 But florence is the Mistris of my hart, 
 I loue her Docter, Dost thou conseaue me now, 
 
 doct. How would you I should help you in her loue, 
 [Val.J Why now thou commest unto the very maine. 355 
 
 va. 4 Thou knowest her sweet hart Sentlo hee's the let 
 
 doct. And what way would you haue him remoued. 
 
 va. Why poysoned man, a little dram will doote 
 
 doct. Poysoned Sir, alas you know tis Death 
 
 va. I if it be knowne but that shall neuer be, 360 
 
 Speake honest Doctor wilt thou doote for me 
 
 doct. Sir, for your sake although it touch me neere 
 Heers my hand He doote. 
 
 Va. But Docter neuer feare. 
 Gold will salue all and that thou shalt not want. 365 
 
 Do. Sir, He strech mine art to do you good 
 Tho ventring so it cost my dearest bloud. 
 
 val. Thankes gentle Docter goe to florence straite 
 With in this houre He in the garden waite, 
 
 1 Mistake for "Doct." 
 •Read " straung." 
 3 Read "sir." 
 'Belongs in line 355. 
 
The Faire Maide of Bristow. 53 
 
 there bring her alone, Sentloe is sure, 370 
 
 And as for Anabal her thoughts be pure, 
 
 Sentloe once dead, Docter thou knowest my mind, 
 
 Faith, Anabell she staies not long be hinde, 
 
 Good Docter, faile not, I must now to dinner, 
 
 Exit, 
 doct. Now heauen forgiue thee thy pernitious sinnes, 375 
 I poison Sentloe, now the lord forfend 
 that such a thought should enter in my brest, 
 Blessed be the time I tooke a Docter's shape, 
 For by this meanes Sentloe his death shall scape, 
 And louely Anabel her life set free, 380 
 
 False Vallenger shall be deceived by me, 
 And that deceit is lawfull kind and iust, 
 That doth prevent his murder and his lust, 
 And tho I have faire Anabels loue lost, 
 Yet Vallenger shall in this sute be crost. 385 
 
 [Scene 2] 
 Enter Frog and douse. 
 
 Frog. Come douse. Now we have time and place as 
 They say, I prethee use me with no delay, 
 But still say, do not say you will not haue me, 
 Now because I am none of your burgers, 
 But Douce as I am hastie yet I am not the hastiest, 390 
 
 And though I am resty, yet I am not lowsie, 
 And of one that cannot talke much, 
 So I loue to speake little, for as that 
 Worthy Philosopher Hector ses, the words 
 Of the wise do offend the foolish, so 395 
 
 Douce in few words and in tedious talke, 
 Tell me when is this day. 
 
 Douce. What day Frog. 
 
54 The Faire Maide of Bristow. 
 
 Fr. What day Frog ? dost thou aske what day, 
 Why Douce this day of wedlock Douce, 400 
 
 This day of going together Douce, 
 This day of wearing out sheetes and 
 Throwing down blanckets Douce. 
 
 Dou. Ifaith Frog, you know I haue little. 
 And for your owne part your as poor as Job, 405 
 
 Fr. But not so seabed I thank God Douse, 
 Well I see you regard not the wisdome 
 But the wealth, not the man : but the mony, 
 
 Dowse, Dowse, much hast thou to answere for. 
 
 Dous. Besids I think you do not loue me. 410 
 
 Fr. Not loue thee, why I cannot dresse my maisters 
 
 Horses for thinking of thee : I cannot dream for 
 
 Sleeping of thee : but for a certainty, 
 
 1 loue thee indeed, when I goe to bed 
 
 And pluck of my shoes, there you may smell 415 
 
 Loue out of me : and then I sigh and then I pause 
 And say that Dowce is the onely cause. 
 
 Dous. Well, Frog, I haue but iested all this while 
 Yfaith Frog hadest thou bin ruled by me, 
 Thou hadest not bin Froging out of the well 420 
 
 So long : but Frog twas thy fault. 
 
 Fr. The more is to come Dowce, then you will 
 Haue me, we shall to this geere ? 
 
 Dow. I sweet hart, name you the time, 
 The sooner, the better. 425 
 
 Fr. So say I dowse, for as the old saying is, 
 He that has a good dinner, knowes better the way 
 To supper : but Dowse, we will be married a Sunday, 
 And that we will be spoken to be liberall, 
 Weele giue ten grotes to the poore : with this 430 
 
 Prouisso, that if we neede it, weele haue our ten groats agin. 
 
 dous. I but afterwards will you not proue vnkind ? 
 
r 
 
 The Faire Maide of Bristow. 5 5 
 
 Fr. How Dowse unkind ? 
 When linkers leaue to drink good ale, 
 
 And Souldiers of their weapons faile, 43 5 
 
 When pedlers go without there pack, 
 And water is more deare than sack, 
 When Shomakers drinks that is small, 
 And Lawiers haue no tongues at all, 
 
 When Fencers leaue of giuing knocks 440 
 
 And young men hate faire Maidens smocks, 
 When drunkerds scorne a copar nose, 
 And Botchers nere mende lowsie hose 
 Or when the cat shall hate a mous, 
 
 then Frog shall proue unkind to Dowse 445 
 
 and so sweet hart lets goe and wed, 
 and after to dinner and then to bed. 
 
 Exit. 
 
 [Scene 3] 
 
 Enter the Docter and his man. 
 
 doct. Go Sirrha at the back doore, 
 
 Bring mistris Anabel, make hast away. 
 
 Ja. I warrant you Sir. Exit. 450 
 
 [Doc] Well Vallenger if all things fall out right : 
 
 You shall have little cause to thanke * 
 
 The Docter, but heere he comes. 
 
 val. How now Docter, what will Florence come, 
 
 Doct. She will be heere Sir, presently, and see 455 
 
 You can no sooner speake but she is come. 
 Enter Florence and Blunt. 
 Flo. Go Sirrha, do you tend at doore, 
 
 Let none come in unless I call to you. 
 
 1 You shall have little cause to thanke the Docter. 
 But heere he comes. 
 
r 
 
 f 
 
 r 
 
 f- 
 
 56 The Faire Maide of Bristow. 
 
 Bl. I will, [aside] straight fetch Sentloe, to this match, 
 Are you there Docter, yfaith He be euen with you. 460 
 
 Exit Blunt. 
 
 va. Sweet mistris welcome. 
 
 Flo. Vallenger, now by this light 
 Thou art the welcomest man in Chrisendome. 
 
 va. Thanks gentle mistris, but how if Sentloe come. 
 
 Flo. Hang him I neuer lou'd him in my life, 465 
 
 Only I gull the Rascall for his money. 
 
 Do. [aside] The more villaine Vallenger 
 To leaue his true wife for a common stall : 
 
 Flo. Now by this hand, I wonder vallenger 
 /j_ What delight thou takest in such a wife, 470 
 
 ' But that she is somwhat wise, and modest, 
 
 But to content a gallant spirit indeed, 
 By this light she is a very block to me. match. 
 
 va. Hang her, I care not for her, our fathers made the 
 
 Enter anabell. 
 
 Now with a diuill what whirle wind blew you hether ? 475 
 How now minks, what make you here. 
 I Ana. I hard my Vallenger was all alone 
 
 If I offend thee loue, ile straight begone, 
 L_ yet I had rather stay and if you please. 
 
 flo. Vallenger, what makes your minion heere, 480 
 
 What are you iealhous huswife with a pox ? 
 
 Ana. I pray you gentlewoman be not offended 
 Please you my husband and all shall be mended. 
 
 Va. Gossip get home, or I shall set you packing. 
 
 Fl. [aside] I haue a trick and if it fall out right, 485 
 
 Shall moue her patience ere she part from hence. 
 
 Ana. thou art to me, as bodie to the soule, 
 My life is death without thy companie. 
 
The Faire Maide of Bristow. 57 
 
 flo. By my troth here is an excellent rebato, 
 Would I had such a one. 490 
 
 va. Likes it thee mistris P 1 
 Heere take it, a worse will serue your turne, 
 
 Ana. With all my hart, heere mistris take it, 
 at home I haue a better, please you to goe 
 With me He giue it you. 495 
 
 Flo. Heeres a wonderfull good fashioned gown, 
 Ide ride my horse twenty milees for such another. 
 
 Va. Huswife, vncase, a worse will serue your turne, 
 
 ana. All that I haue sweet Vallenger is thine, 
 and what is thine, thou boldly maist bestow, 500 
 
 Giue all I haue, onely reserve thyselfe. 
 and gentlewoman pitty my estate, 
 think that I am a woman as yourselfe, 
 Had you a husband that you loved so deere, 
 And see another rob you of his hart, 505 
 
 i Would it not grieue you ? Yet I know it will, 
 
 But yet I pray, for my sake vse him kind, 
 I I am sure heele deserue it at your hands, 
 
 ~" Va. Goe, get you hence, or else He send you packing. 
 r~ Ana. I will sweet loue, and whereso ere thou art 5 10 
 
 God send thee neuer a lesse louing hart. 
 
 Exit. 
 
 Enter Sentloe and Blunt. 
 
 Sent. Vallenger, your a villaine to vse me thus. - 
 va. Sentlo, the villaine I throw back againe, 
 And will maintaine mine honor with my sword, 
 
 '. These lines might be arranged 
 
 Val. Likes it thee mistris ? Heere take it, 
 A worse will serue your turne. 
 
 Ana. With all my hart. 
 
 Heere, mistris, take it ; at home I haue a better. 
 Please you to goe with me, He giue it you. 
 
58 The Faire Maide of Bristow. 
 
 [Sent.J Draw Vallenger, one of our deaths is nigh. 515 
 
 Here they drawe, Blunt and the Doctor comes betweene 
 
 them. 
 
 Blunt. Go too, put up Vallenger, or ile make you. 
 va. Well Sentlo another time shall serue for us. 
 
 Exit vallenger and the Docter. 
 
 flo. I prethee gentle loue be patient 
 Sent. Out ye Whore come not in my sight, 
 For if thou dost by heauen ile martir thee. 520 
 
 Exit Sentlo. 
 
 Flo. Caulest thou me whore, now by this light 
 Ile haue thee murdred, and if gold can do it. 
 
 Bl. [aside] Gold can do much, but deuill can do more, 
 Heere is a true paterne, of a common whore. 
 Mistris what meanes my maister to part in such a rage. 525 
 
 flo. Forsooth, the Gentleman is Jellious, 
 But I would quickly rid him of that Feuer, 
 And if thou wouldest Blunt but consent with me 
 
 Bl. What is it Mistris, it shall go hard 
 Shall make me slack in what may profit you, 530 
 
 Although you still thought that I loued you not. 
 
 flo. Now Blunt I see it, and will report thy loue, 
 And for a signe heere take this purse of gold. 
 And now but marke the issue of my purpose. 
 Thou Seest that : Sentloes coin : begins to wear, 535 
 
 And Vallenger is euen now on the spur, 
 And for my sake will empty all his treasure, 
 And what I haue I will impart to thee, 
 But murder Sentlo, then is Florence free. 
 
 Blunt. Mistris if this should be done, 540 
 
 A crash of your office were not cast away. 
 
 flo. Fear not Blunt we will not stick for that 
 
The Faire Maide of Bristow. 59 
 
 Bl. Then heeres my hand, before_llij^sjmjjojdQwne, 
 He do the deede Sentlo shall shortly die. 
 
 Flo. The deed being done come presently to me, 545 
 
 And we will frolick in his tragedy. 
 
 Exit Florence. 
 
 Blu. O Sentlo, wert not for thy frend, 
 How many dangers hadest thou fallen into, 
 The mischiefs now abroach I did fortell, 
 For by my meanes thy Life in safety dwelles. 550 
 
 Exit Sentloe. 1 The drunken mirth. 
 
 [Act IV, Scene 1] 
 
 Enter Sir Godfrey, Eustice and the Docter Anabel in 
 her wastcote. 
 
 God. O my deere daughter how could he use thee thus ? 
 
 eust. My son rob thee of thy faire ornaments. 
 
 God. And for a strumpets loue O God, O God, 
 
 Eu. Split soule asunder, that thy sons so vild. 
 
 Go. Giue me my child, (Sir Eustice,) as she is, 555 
 
 A vertuous maid dishonored by thy son. 
 
 eu. Guie me my son, that I may punish him, 
 For wronging this faire flower thy worthy child. 
 
 Go. Alack good knight, I make my mone to thee, 
 And thou in true loue canst but pitty me. 560 
 
 Eust. Alas good knight, my griefs so iumps with thine, 
 That as I weepe for thee, so pitty mine. 
 
 Enter the mother. 
 
 Mo. Where is my child, where is my Anabell ? 
 Go. Heer wife, let us hold hands, and in three parts, 
 Lets sing around 2 and so weep out our harts. 565 
 
 'Error for "Blunt." 
 2 Query, "a round." 
 
60 The Faire Maide of Bristow. 
 
 Mo. How could the wretch, (deare soule,) abuse thee so. 
 
 ana. Call him not wretch, he is wretched but by me. 
 In mee consists the cause of all this wo, 
 Faire Florence is the mistris of his hart, 
 
 To her I am but as a Counterfit, 570 
 
 Rather I am a ethyop, foule, deform'd 
 And therefore hated of my Vallenger. 
 
 Doct. O Beautious maid, blemish not thy name, 
 ' Thou art Heauenly bright, and she as black as hell. 
 
 God. Should any but my Anabell say so, 575 
 
 Tho' age hath set his foot upon my back, 
 I would maintaine thy Beauty, 
 Sweare thou wert faire 
 Nay more that that, defend it with my sword. 
 
 eust. Sir God-frey, so would I, by heauen I would. 580 
 I, wert against that fugetiue my son 
 Fugutiue in forsaking of his wife 
 To lead the race of an intemprat life. 
 
 Mo. Heere me but one word, gentle maister Docter, 
 The Lord be with the vertuous Challener where ere he 585 
 Be, Sir he should haue had my child, 
 Good honest Gentleman he should, 
 And I repent me twenty hundred times 
 So my goodman forsooth would needs 
 
 Make up the match with this same unthrift, 590 
 
 And now you see how he doth use my child, alas. 1 
 
 Doct. [aside] This is some comfort in this depth of wo, 
 
 1 From line 585 tile verses could be arranged, 
 The Lord be with the vertuous Challener 
 Where ere he be. Sir he should haue had 
 My child ; good honest gentleman, he should. 
 And I repent me twenty hundred times 
 So my goodman, forsooth, would needs make up 
 The match with this same unthrift, and now 
 You see how he doth use my child, alas. 
 
The Faire Maide of Bristow. 61 
 
 Thy vertue is preferd before thy foe, 
 
 Why then tell them boldly who thou art, 
 
 No, be still the Docter, hold thy course begun, 595 
 
 There is more afoote then will in hast be done. 
 
 eust. Brother, it shall be so, he shall not haue 
 A graue roome of my land. 
 
 God. He spends no goods of mine upon his trull. 
 
 eust. Cut off all maintenance, that is the way 600 
 
 To make him see his sin. 
 
 ana. O say not so, deere father heele repent, 
 And I shall have a husband of new birth. ^^ ' • 
 
 god. Girle, thou art to foolish, so are we to long, 
 Sufferance in this may grow to further wrong. 605 
 
 Doct. To further wrong indeed, for Vallenger 
 Hath hired me, to poyson Anabell. 
 
 Eu. What his trueharted wife ? 
 
 Doct. Delay is worse to danger, credit me, 
 And by that plot Sentlo must likewise die. 610 
 
 god. Blessed be the houre that euer y 1 camst to Bristo. 
 
 eust. A Docter of more honesty there lives not. 
 
 Go. Were he our son a thousand times, 
 We must not let him be a murderer. 
 
 ana. Good father let it suffice you know it, 615 
 
 j And may preuent it follow it then no further. 
 
 "Doct. O thou that rules the lotery of life, 
 Why should a bad man haue a vertuous wife, 
 Or a bad wife, haue a husband Jhat is good, 
 Dostjhou_delight in contraryeties, 620 
 
 Then Wherfore do we striue for vertue still ; 
 When we are maistred by a greater Will, 
 Come good old man, come myror of true wiues, 
 O let my hart with your harts simpathise, 
 Although I am no kinsman to lament, 625 
 
 1 Probably "ye." 
 
62 The Faire Maide of Bristow. 
 
 In your distres my grief['s] as deeply spent. 
 
 God. Docter, brother, whats to be done. 
 
 eust. Gods me we must go apprehend him straiht. 
 
 god. There is no dallying in a matter of such wait 
 And therefore let us not be slack in this. 630 
 
 eust. No, no, brother with your men, 
 Beset you Sentloes house, he may be there, 
 I and my men will post another way, 
 No place shall be unsought, 
 
 But we will have him. 635 
 
 Exit the two old men. 
 
 Ana. Good mother stay them 
 This their iourney forth, 
 May breede some mischiefe, 
 JTherefore call them back againe. 
 
 Mo. Thou art to foolish Girle, let them go, 640 
 
 thou seeks his loue, that is thy mortall foe. 
 
 Doct. [aside] O thou art framd of constancie thyselfe, 1 
 Challener what a iewell didest thou losse, 
 By shoing it unto thy faithless friend, 
 
 And how like drosse doth he account of it. 645 
 
 Come vertuous maiden wipe those crystiall eies, 
 thou weepes for loue of him which loue defies, 
 Lets in to counsell what may best relieve, 
 Where teares and sorrow giues men cause to grieve. 
 
 Exit omnes. 
 
 , (Scene 2) 
 
 Enter Vallenger. 
 
 Va. What spightfull fortune Vallenger is this, 650 
 
 this villaine Docter hath betraide my trust, 
 and to my father all my plqts revealed, 
 
 1 Query, "itselfe". 
 
f- 
 
 The Faire Maide of Bristow. 63 
 
 Who flat denies me succor or reliefe, 
 
 I dare not I be seen within the citty, 
 
 For then there is no way but straight to prison, 655 
 
 He call to Mistris Florence I know that she is kind 
 
 to her He show my griefe and my sick mind, 
 
 Ho Mistris Florence. 
 
 Enter Florence. 
 
 fFlo. Whose there, sweet vallenger ist thee, 
 Why dost thou look so sad, how fares my deare ? 660 
 
 Va. Yfaith neuer worse, but all my hopes in thee. 
 Flo. What is it sweet I will not do for thee ? 
 Va. My father and my wife knowes all my drift, 
 And all inraged, threatens to be reuengd, 
 And will not let me haue no maintenance, 665 
 
 But sweares to plague me for my wickednes. 
 £. Flo. [aside] Is the wind in that doore, 
 
 ' What would you haue me do ? 
 
 va. To let me liue with thee a little space, 
 Untill I haue obtained my Fathers grace, 670 
 
 Then what I haue sweet mistris shall be thine. 
 
 flo. And what shall I do, beg the while, 
 No Vallenger your deceaued in me, 
 [— think you that He be pruiy to your plotes, 
 
 to bring my selfe in danger of the Law, 675 
 
 Go to your wife and cherish her at home, 
 I do not like these wanton humors I. 
 
 va. I hope sweet Florence, that you do but iest. 
 Flo. Beshrow my hart then, do not take it so, 
 Pray leaue my house, least your father come. 680 
 
 va. Give me house roome Florence but to night, 
 Flo. Not an houre, shall I haue my reputation 
 £2- Touched for thee, if you linger heere, 
 
 He send for the Officers to discharg my selfe. 
 
y 
 
 64 The Faire Maide of Bristow. 
 
 Val. It is euen thus, well what remedy : 685 
 
 Lie in the fields wretch, there dispaire and die. 
 
 [Exit.J 
 
 fFlo. Pray God that Sentloe be not murdred now, 
 Then all my hopes are lost. 
 
 Enter Blunt. 
 
 Flo. How now Blunt what newes ? 
 
 Blu. Sentlo has drunk his last, the deed is done. 690 
 
 Flo. Then are we undone Blunt ? 
 ' Blu. Why wherefore. 
 
 Flo. The poore deiected Vallenger was heere 
 <f As dry as dust not left a single doyt, 
 
 His father vowes to follow law of him, 695 
 
 Well, would that Sentlo were aliue againe. 
 
 Blu. Tis done, and therefore now there is no help. 
 
 Flo. Yes, Blunt, thers help, but marke a womans wit, 
 Vallenger is but new gone out of doores, 
 
 Go follow him, and mark where he lies downe, 700 
 
 And if thou seest he is inclined to sleepe, 
 Lay Sentloes murderd body hard by him, 
 Pluck out his sword, and all be bloudy it, 
 And then cry murder as if he did the deed, 
 About it Blunt, do not the same neglect, 705 
 
 And then we two are free from all suspect. 
 
 Flo. 1 Feare not this shalbe done effectually 
 f flo. Then farewell come to me when tis done 
 
 Meane while ile home and stur not out of doore. 
 
 Exit. 
 Blu. The diuell take thee for a filthy whore, 710 
 
 Thou art apt enough in murder, and in lust, 
 But like a stone in anything is honest, 
 
 'Mistake for "Blu." 
 
 V 
 
The Faire Maide of Bristow. 65 
 
 Well ere to morrow, many thinges will chang, 
 
 That dead men should reuiue, it would seem Strang; 
 
 Now after Vallenger I mean to goe, 715 
 
 To see in what place he doth himselfe bestow. 
 
 Exit. 
 [Scene 3] 
 Enter Sentlo very drousie. 
 
 Se. I wonder that I am so dull and heavy, 
 My feet doth stumble, as I go along, 
 Mine eyes hangs downe, as if I had not slept 
 This twenty daies, pray god it be for good. 720 
 
 Still more and more : well, I must needs lie downe, 
 And make my pillow of the grasse and ground. 
 
 He lies downe and falls a sleepe. 
 Enter Vallenger. 
 
 va. How yrkesome is the day unto my eies, 
 My cheeks do blush for to behold the skies, 
 Methinks the heauens doth frowne upon my sin, 725 
 
 And to repentance bids my hart begin, 
 the earth do burne my feete with scorching fire, 
 Because that all as hot was my desire, 
 So heauen and earth my practise doth confound, 
 Yet must I be beholding to the ground. 730 
 
 My griefe is heer, sleep doth follow sorrow, 
 Heere rest thy wretched carkas till to morrow. 
 
 Here he lies downe to sleepe. 
 Enter Blunt. 
 Bl. This way he went, and here he is laid to sleepe, 
 And Sentlo by him, this is excellent : 
 
 Now Harbart since thou hast don him all this good, 735 
 
 For once be a littell lavish of thy blood. 
 
66 The Faire Maide of Bristow. 
 
 Here he stabs his arme, and blodies Sentloes face, 
 and pluckes out vallingers sword and blodies 
 it, and laies it by him. 
 Bio. The Potion I gave sentlo to drink, 
 Doth make him seeme to all as he were dead, 
 And yet his time is not come to wake ; 
 
 Now I will raise the wach. Murder, Murder. 740 
 
 Exit. 
 Vallinger startes up. 
 val. What noise is that affrihtes mine eares 
 With murder, I laid me downe to sleepe, 
 Whats here : my sword drawne out and blody 
 And heres a gentleman new murdred, 
 
 Some villaine surely that hath done this deed, 745 
 
 Hath laid this murdred body here by me, 
 So by that meanes himselfe might be thought free. 
 If it be so, when 1 then most hapie I, 
 that hates to Hue, and hath such meanes to (dy). 
 
 Enter the Constable and Officers. 
 
 Con. S(e) heres the murdred body and here the 
 murdrer, 750 
 
 I chardge you in the Kings name 
 Deliuer up your weapons : and goe along with us 
 
 [Val. J With all my hart, see ther my weapons are, 
 And cary me whersoere you please. 
 
 Exit with vallinger. 
 Con. Goe to prison with him presently, 755 
 
 the rest bring in this murdred body. 
 
 Enter Blunt in his owne shape. 
 Bio. God saue you Sir, I here it rumored, 
 A gentleman is slaine 
 
 1 Query, "why". 
 
The Faire Maide of Bristow. 67 
 
 Con. I Sir a proper man and here he lies 
 
 Bio. O noble Sentloe dost ly soe lowe ; 760 
 
 Break hart assonder that thy frend is slaine. 
 
 Con. Sir, do you knowe the gentleman. 
 
 Bio. Yes, Sir, he was my louing friend, 
 And we at oxford fellow Pupels were, 
 
 Then good Sir let me in kindnesse craue, 765 
 
 That as I alwaies lou'd him in his life, 
 So I may haue his body at his death. 
 That I may giue him Cristian burial, 
 
 Con. With all my hart, weel leaue him with you sir, 
 and I am sory ser for your heauiness. 770 
 
 Bio. So this goes well once 
 He be Blunt again. Exit Constable. 1 
 
 For now the time drawes on of his awake. 
 
 Sentloe rises. Exit. 
 
 Se. I neuer slept more soundly in my life, 
 But stay, how comes my hands so blody, 775 
 
 So is my face, me thinkes, stay heres my man. 
 
 Enter blunt amased. 
 
 Why how now blont why stares thou so upon me, 
 
 Bio. Are you aliue Sir. 
 
 Sent. Didst thou set anybody to kill me. 
 
 Bl. Not I Sir but wicked Florence did, 780 
 
 And hadest bin slaine, had it not bin for me, 
 Sentloe, behould thou Harbert and thy friend, 
 That thus hath wayted on thee like thy man, 
 To saue thee from a thousand miseries, 
 
 Sent. I am amased and knowe not what to say 785 
 
 O my deare Harbart : O my louing frend. 
 
 Harb. Leaue of imbracements till some other time, 
 
 1 Should be after verse 770. 
 
68 The Faire Maide of Bristow. 
 
 The King is come to Bristow, newly landed, 
 Come as we goe along He tell thee all, 
 
 Things wonderfull that yet thou dreamst not off. 790 
 
 Exit. 
 
 [Act V, Scene ij 
 Enter King Richard, Leicester and Richmond. 
 
 King. All haile thou blessed bosome of my peace 
 Richard findes instance of his home returne, 
 Bristow, thou hapie rode where first I land, 
 Doth welcome me now from the holy land. 
 Send word to London of our safe arivall 795 
 
 While we awhile in Bristow heere repose us. 
 
 god. Fame with her brasen trump hath born this tidings 
 hether. 
 
 eust. And Bristow with their * cittizens expresse, 
 Their gladness by their triumphe, at your safetie. 
 
 Kin. And we with you will put these triumphs on, 800 
 
 But for this unlucky accident 
 Which makes old Eustice and Umphreuil sad 
 Which grieves me for the noble gentlemen. 
 
 god. By blessed Saint Paule my liedg I cannot brook it 
 To see my child, my aire, my Anabell, 805 
 
 This heere : what a wretch was this ? 
 Now by saint Charity if I were iudge 
 ' a halter were the least should hamper him. 
 
 eust. Though nature wrassels with my staied reason, 
 And willes me plead for mercie for my son, 810 
 
 yet iustice with impartiall wings directs 
 My thoughts from pitty and my words for right, 
 My liedg to make an entrance to your fame, 
 Regard Umphreuiles wrong, punish my son 
 
 1 Query, "her". 
 
The Faire Maide of Bristow. 69 
 
 I cannot lose him better than by law, 8 1 5 
 
 Nor is he lost that doth example giue, 
 Of sweet amends to such as leudly liue. 
 
 King. Vertue commends thy course and patience his, 
 In both I pitty what you both desire, 
 
 If iustice could be glosed with pitties wings, 820 
 
 Call for [th] ' the prisoner, let us crowne the time, 
 With iustice for these honorable men. 
 
 Ana. Haue mercy Richard, mercy in a King 
 Is like the peereless Diamond set in gold, 
 he out of enuy and of fury speaks, 825 
 
 I out of loue and passion plead for him. 
 
 King. What pleasing aduocate hath pitty rais'd 
 To pleade the prisoners cause, himself not there, 
 
 Ana. One that doth beare the greatest grief of all, K< 
 
 The hapless wife of wofull Vallenger. 830 
 
 King. Why thou art wrong' d, therefore shouldest claime, 
 Reueng for thee, and iustice for thy husband. 
 
 Ana. Reuedg for me my Lord, nay 2 that cannot be, 
 unless a Strang deuision may be had, 
 
 For I that am as neerely knit to Vallenger 835 
 
 as bodie to the soule, cannot suppose 
 an iniury, But think his losse 
 To be my miserie and chiefest crosse. 
 
 God. Hath he not sought thy bloud thou foolish girle ? 
 
 Ana. He sought no more than I can freely giue, 840 
 
 ■ and sacrefice to death so he may liue. 
 
 Mo. Did he not keep a harlot to despight thee. 
 L— , ana. And if he mend that fault he soon may right me. 
 
 Go. He gave thy ornaments to deck his trull, 
 L An. And my consent did ratine his guift. 845 
 
 Mo. Well he hates thee. 
 
 1 " th " has been suppressed before " the" 
 
 2 " nay"" probably inserted under influence of " may " in next line. 
 
yo The Faire Maide of Bristow. 
 
 An. To try my patience, all that he did or gaue, 1 
 Or did contriue concerneth me, 
 his act was my allowance. 
 
 Now since my selfe accuse not, but excuse. 850 
 
 Since she that was supposed to be wronged, 
 Doth right that wrong, be iust and set him free, 
 For I protest I know no iniury. 
 -"' Go. She knowes no iniury, my Lord she lies 
 
 King. Sir God-frey since you [r] daughter doth 855 
 
 Remit his fault methinks you should forgiue him 
 
 god. Forgive him, no not I the wretch shall never bost, 
 That he hath braued old God-frey in a iust 
 And honest cause. He touch him I, 
 
 I and touch him to the quick, 860 
 
 No less than for his neck verse will I touch him, 
 Docter stand foorth and to my prince and peeres, 
 Say what thou know'st of Sentloe's bloudy death 
 
 Cha. Then this I vow before your Maiesty 
 That Vallenger corrupted me by gold 865 
 to poison Anabell, and Sentlo to. 
 An. Intents are nothing till they come to acts. 
 
 Go. and mistris is not Sentloe dead in act 
 -- Har. Sentloe is dead, my maisters bloudy death 
 should quicken iustice in your maiesty. 870 
 
 King. Thou shalt have iustice to thy owne content. 
 
 Cha. [aside] O how I grieue to see her brinish tears 
 Water the Crimson roses of her cheeks. 
 
 Har. [aside] Had not my wit preuented this before 
 Nor you nor she, had neuer sorrowed more 875 
 
 1 Lines 846-849 can be arranged 
 
 Mo. Well, he hates thee. 
 
 Ana. To try my patience. 
 
 All that he did or gaue or did contriue 
 Concemeth me. His act was my allowance. 
 
The Faire Maide of Bristow. 71 
 
 Eust. Yon come [s] my son ? what said I ? No my shame 
 
 let his bloud my hedge redeeme the same: 
 
 Enter vallenger and Officers. 
 
 King. Yong Vallenger thou art heere 
 Accused for Anabell, 
 
 And murdring Sentloe that is dead, 880 
 
 Speak art thou guilty, I or noe. 
 
 va. Guilty in both my Lord, and heere for both 
 Ready to pay the penalty of my life, 
 [aside] Tho in my soule and conscience I am cleere, 
 Of Sentloe's death, yet welcome happie lot, 885 
 
 That so shall rid my life of that foule spot. 
 
 ana. Alas poore soule, how griefe and his disgrace, 
 Doth make him desprate, behold his face. 
 From thence speakes truth, as from an Orackle, 
 That he is innocent, tho his words accuse him. 890 
 
 King. Well Vallenger atend thy sentence ; 
 
 Har. Pronounce not sentence yet, right royall king. 
 
 K. What lawfull stay canst thou impart to us. 
 
 Har. A stay to straighten iustice and the truth, 
 My conscience charged with this hainous crime, 895 
 
 Makes me confess tho' to my harts' true griefe, 
 That by thinticements of lewd Florence and her guifts, 
 
 1 should have murdred Sentlo, my deere maister, 
 I therefore think that through her wickednes 
 
 She is the cause of all these villainies. 900 
 
 king. Post officers and fetch her to our presence 
 va. A weak delay to hinder my strong faith 
 God. I euer thought that Harlot would be one. 
 
 See how that bold face ieats it like a bride. 
 
 Enter florence. 
 
 Fl. Health to the King, good fortune to the peeres 905 
 Mo. A boulder quean ther liude not this many years 
 
72 The Faire Maide of Bristow. 
 
 Ki. My pearcing iudgement, through the brittle glasse, 
 Of that frail beauty, doth deserne her loosenes 
 Lady stand forth. 
 ..:— Flo. I entertaine that name most royall king, 910 
 
 And boldly come heere to cleere myselfe, 
 Of any thing that shall be laid against me. 
 
 King. You are here accused as accessarie, 
 Unto Sentloe's death, speake are you guilty I or no. 
 
 fFlo. Doth this disgraced son of that proud man, 91 5 
 
 Charg me with these surmises before the king. 
 
 Va. Thou hast not murdred him but my renowne 
 His death, this hand my death of fame doth wound 
 
 Cha. Thus lust makes yong mens missery her law. 
 
 Flo. Who then dares touch my reputation ? 920 
 
 Eust. Looke there on thy accuser, that is he. 
 
 Flo. This corish lumpe of flesh, this shag haird slaue, 
 
 Eust. Aplie thy speech proud woman to the place, 
 Speak reuerently in presence of the king. 
 
 King. Lady we stand not upon words, 92 5 
 
 But one the proffe, and estimate of right, 
 Sirrha, stand forth : and freely speak the truth. 
 
 Ha. The wretch my Lord that neuer did offend, 
 Fears not to die, I charge thee Florence 
 
 Of my maisters death : more ouer I charg thee 930 
 
 That with this purse of massie gold 
 Thou didst bribe me, 
 To murder Sentloe, Sentlo that is dead. 
 
 flo. I bribe thee, with what false-hood dost thou urge me. 
 
 Har. Let Vallenger be asked what purse this is, 935 
 
 Looke on it Ladies, mark it, for you know it. 
 
 Ana. This purse was mine. 
 
 va. This purse I gave to Florence. 
 
 King. Then with this purse, we boldly may conclude 
 that she did bribe Blunt to murder Sentloe. 940 
 
The Faire Maide of Bristow. 73 
 
 Eu. Looke on her face my Lord, her couller changeth, 
 
 fflo. [aside] Am I discride, shall yonder corish slaue, 
 By blabing tongue bring me to infamy, 
 No tho I assure my death, ile further his. 
 
 God. Your answere Florence, what debate you there ? 945 
 
 fflo. My answere shall be resolute and true, 
 Worthy the vallor of a womans mind, 
 To bad for thee, thou lumpe of infamy. 
 
 Eust. Nothing but badness is from bad deriued 
 ^ flo. most mighty king, I freely do confes, 950 
 
 I That cursed Blunt consented to murder Sentloe, 
 
 This is the truth of all, liue I or die. 
 
 Har. Lewd is her liue my Lord, and lose her tong. 
 
 king, well take them aside, 
 In Florence I obserue her impudence 955 
 
 In Vallenger dispaire, in Blunt remorce, 
 In these three last front terror, 
 Call them agen, attend your sentence all, 
 First Vallenger, 1 thou soughest to poison Anabel thy wife, 
 Since by aparent proffe Sentlo is slaine, 960 
 
 Our sentence is respective for thy good, 
 A noble death : the losse of thy lewd head, 
 Blunt, and this honest Florence, 
 Both for committing and conceiling murder, 
 Must one the gallowes die, this is our sentence. 965 
 
 Har. No act is proued in me right royall king. 
 
 King. Her words approve thy Act, thy act her will. 
 
 Ha. My fault is in consealement not attempt 
 
 Flo. His fault is murder, hang us all my Lord. 
 
 1 Possibly : In these three last front[s] terror. Call them agen. 
 Attend your sentence all. First Vallenger. 
 Thou soughtest to poison Anabel thy wife ; 
 but it can just easily be prose. 
 
74 The Faire Maide of Bristow. 
 
 Eust. 1 Harbart, for all your kindness to my son, 970 
 
 He see you shortly caper in a cord. 
 
 flo. See then you hang us closely, then my Lord 
 To kis in death, as we haue kist in life. 
 _ Ana. Bost not thy shame, nor shame thou womanhood, 
 
 Flo. Alack good god how holy she is growen, 975 
 
 she loues the flesh, yet dares not make it knowne. 
 
 Va. I do imbrace the law, as pleased to die, 
 Father forgiue the follies of my youth, 
 Umphreuill, let me beare to heauen 
 
 Upon the wings of my unfained repentanc 980 
 
 My sorrow heere indented in my tears, 
 And thou indued wonder of thy sexe, 
 Forgiue the wrongs that I haue done to thee, 
 That I may goe with peace unto my death. 
 J K. Away with them. 985 
 
 -/To morrow) see exectution be performd, 
 
 Anar~0 mercy Richard, show some mercy, 
 Will Vallenger in silence losse his son, 
 And harder than the Penerian rockes, 
 
 Neuer be perst, 990 
 
 Although the father will not, Richmond plead : 
 And if that Richmond dare not, Liestor speak, 
 O see the time fleets hence with swolloes wings, 
 Time runs : O gracious King be mercifull. 
 
 king. Lady I cannot breake the limites-of the law, 995 
 A wilfull murder must be paid with death, 
 ^Yet bring me a man that willingly will yeeld 
 Sufferance of death, to save yong Vallenger, 
 And he shall liue, else hope no further grace : 
 Atend our further pleasurs at the Court. 1000 
 
 [Exit King.] 
 
 • Probably an aside as Blunt was still disguised, though it is difficult to see why 
 Eustace feared death for him if he knew who he really was. 
 
b 
 
 The Faire Maide of Bristow. 75 
 
 ana. [aside] This is some comfort, happie Anabell, 
 Now show thy ready and thy womans wit. 
 
 Chal. How shall he liue in * one will die for him ; 
 Well, Vallenger, if thou haue such a frend ! 
 Thou art happie, but I mean to see the end. 1005 
 
 Exit Challener. 
 
 [Scene 2] 
 Enter Sentloe, like a frier. 
 
 Sent. Thus like a frier I haue disguised myselfe, 
 To see my deere friend that hath saued my life, 
 And that same strumpet that 
 Would haue caused my death. 
 
 A harlots loue is like a chimney smoke, 1010 
 
 Quiuering in the aire betweene two blasts of winde, 
 Borne heere and there by either of the same, 
 And properly to none of both inclind, 
 Hate, and dispaire, is painted in their eies, 
 Deceit, and treason, in their bossome lies : 1015 
 
 Their promises, are made of brittle glasse, 
 Ground like a phillip, to the finest dust, 
 Their thoughts like streaming riuers swiftly passe, 
 Their words are oyle, and yet they geather rust, 
 True are they neuer found, but in untruth : 1020 
 
 Constant in naught but in inconstancie : 
 Deuouring cankars of mans liberty, 
 But stay : I am at the prison gate, 
 Where are you keeper, let me speake with you ? 
 
 Keep. Who knocks there? 1025 
 
 Sent. A fryer come to confesse your prisoners. 
 
 Keep. Stay ile bring them to you presently. 
 
 1 Query, "if". 
 
J6 The Faire Maide of Bristow. 
 
 Enter Vallenger, Florence and Blunt and the Keeper. 
 
 Sent. Health to this place : Sir, let me speak with you. 
 Do you not sorrow inward at your hart, 
 For your loose life you haue so wanton spent. 1030 
 
 Val. Yes : from my hart Sir, and do thinke it long, 1 
 That this vild life of mine doth breath so long. 
 
 Sent. Do not dispaire, although your death be nie, 
 Heauen looke upon you with a Gracious eie. 
 
 Flo. 2 Now gentlewoman : let me speake with you ; 1035 
 
 [Flo.J Now good fellow, what wouldst thou haue with me ? 
 
 Se. To confes truly your offences past. 
 
 flo. Well : shall I confes one thing truly to thee, 
 
 Sent. One thing and euery thing. 
 
 flo. Why then I confes truly that before 1040 
 
 This time neuer confest any thing truly, 
 But in briefe father ile tell thee, 
 All that I couseaned, I defrauded : 
 Those I haue slandered, I have defamed, 
 
 Whom I hated, I loued not 1045 
 
 And this hath been the manner of my life. 
 
 Sent. Are you not sorry for that you haue done. 
 
 flo. No by my troth, nere a whit at all. 
 
 Se. I hope your mind will chang before you die. 
 
 Flo. Perhaps you know so much : trust me, not I. 1050 
 
 Sent. God turn your hart : frend let me speak with you, 
 The time draws neere of execution, 
 [aside] What is it meete I goe along with you ? 
 
 Har. [aside] I gentle Sentloe, and thyselfe shall see, 
 The deference twixt lust and chastity. 1055 
 
 Enter a messenger. 
 
 Mes. You must bring the prisoners away, 
 the King and peeres are already set. 
 
 1 Query, "wrong". 
 ' Belongs in verse 1036. 
 
The Faire Maide of Bristow. 77 
 
 keep. Say we make all the speed we may. 
 flo. Come noble harts, lets fearles march away, 
 A little hanging will despatch us all. 1060 
 
 Exit omnes. 
 
 [Scene 3] 
 
 Enter the King, Richmond, Liester, Sir Eustice, Sir 
 Godfrey to the Execution. 
 
 king. Sir Godfrey and Sir Eustice Vallenger, 
 Your siluer haires should teach you patience. 
 
 god. My ledge, God be my record, I do not repine, 
 Alack good knight, thou weeps in vaine, 
 But now there is no helpe. 1065 
 
 Eust. I, I, my Soveraine iustice on my son, 
 He hath deserued death, and let him haue it. 
 
 king. Sir Godfrey hath your daughter yet 
 Found out a man will die for Vallenger, 
 
 Such was our promise in regard of her, 1070 
 
 And since our word is past, we graunt it him. 
 
 god. No, no, my Soueraine, I haue hard l 
 A man urged by nessesity to lead his frend, 
 Or to redeeme his person with his owne, 
 
 But to find one will die for a frend, ic>7S 
 
 This age we hue in doth not now aford. 
 
 Enter the Officers with the prisoners. 
 
 king. Dispose yong Vallenger the first to death, 
 That done, send hence the other [s] to their sentence domd 
 
 ja. Ere I asend the stage where I must act, 
 The latest period of this life of mine, 1080 
 
 First let me do my deuty to my prince. 
 Next unto you, to much by me offended, 
 Now step, by step, as I assend this place, 
 
 1 God. No, no, my Soveraine, I haue hard a man 
 Urged by nesessity to lead his frend, 
 
78 The Faire Maide of Bristow. 
 
 Mount thou my soule into the throwne of grace, 
 
 If my offence might be forgiuen on earth, 1085 
 
 I would aske pardon of my dread king. 
 
 My parents and my wife, 
 
 That must forgive me, 1 
 
 But my hateful life 
 
 Hath so bebloted and besmered my fault, 1090 
 
 That when I come to ask the last forgiuenes, 
 
 They will not list my sute, 2 
 
 Nor yet regard it. 
 
 Enter at one doore, Anabell disguised like a man, 
 and at another Challener. 
 
 Ana. Stay : heere is one will die for Vallenger. 
 
 Chal. Nay: heere is one will die for Vallenger. io 9S 
 
 God. Be blind mine eyes, vertuous Challener. 
 Come to redeeme his enemy from death, 
 
 val. O Challener, by the deep wrongs that I haue done 
 to thee, 
 
 O hide thy face, thy lookes are far more keene, 
 Then is the axe, must strike the fatall stroke : 1 100 
 
 For thee sweet youth, thou canst alledge no reason 
 Why thou shouldst die for me, 3 
 Be iust O King. 
 No torment worse then fruitles lingering. 
 
 King. Dispatch them executioner ; dispatch. 1 105 
 
 ana. Stay executioner : do me iustice King, 
 thy word is past that Vallenger shall hue, 
 If any one will loose his life for him, 
 And that will I : ile dy for vallenger. 
 
 Chal. Nay heere is one, that for the loue he beares, mo 
 to Anabell, but not to him, will die for Vallenger. 
 
 1 Lines 1088-9 to be read as one verse. 
 
 2 Lines 1092—3 to be read as one verse. 
 s Lines 1 102-3 t0 be rea d as one verse - 
 
The Faire Maide of Bristow. 79 
 
 Ana. My plea was entred first, my claime must stand. 
 
 Cha. Tell me but what thou art, rash yong man, 
 that dares enter into this place before me ; 
 humanity doth teach thee thou euer shouldst 1 1 1 5 
 
 Giue place unto thine elders in all asaies, 
 how rude then and unmannerly art thou, 
 To forget this common courtesie, 
 that parents teach their children euery houre. 
 
 Ana. Sir, in humanity I must confesse, 1 1 20 
 
 So much as you aledge but not in death. 
 ' the graue is as the publick theater, 
 the roome being taken up, by them first enter, 
 The second sort must sit but as they come. 
 Besids you say you die for Anabell, 1 125 
 
 She nere deserued death : therefore giue your plea 
 to him that hath true title for the same. 
 
 God. Thats not by thee fond girle, 
 Kneele Eustice, kneele, do not acept, 
 Against her foly, do not good my ledge. 1 1 30 
 
 King. Why you amaze me, what's the matter ? 
 
 God. Why, my ledge, this is my child, my anabell ; 
 Came in this disguyse, 
 to saue his life that was the spoil of hers, 
 
 [King. J Now aforegod girle thou art much to blame. 1 1 3 5 
 What is that other ? 
 
 God. My lord, this is vertuous Challener, 
 Come to redeeme his enemy from death. 
 
 King, (a) conflickt of exceeding consequence, 
 and much renownes that worthy gentleman, 1 1 40 
 
 tho let me tell you we are much displeasd, 
 that Anabell should baffel thus our lawes, 
 We asked a man, and she a woman to delude us. 
 therefore we are content her husband haue his life, 
 But she shall lay her head upon the block, 1 145 
 
80 The Faire Maide of Bristow. 
 
 and she shall haue no executioner, 
 But vallenger himselfe, shall strike it off : 
 this is our sentence, and we will not chang. 
 J Ana. pray God thou dost not King, for I accept it. 
 I Come Vallenger that happy hand of thine, 1150 
 
 I .Shall saue thy life and make an end of mine. 
 
 val. To strike the stroke, to murder Anabell, 
 Firs£j^myj30jale_sinck to the pit of^ hell. 
 £_LChcL A man the executioner of his wifeTj 
 Is so unhumame"that iTmortalTeie " 1 1 55 
 
 Would euen be bloudshed to behold the same, 
 Therefore dread King let me die for both, 
 But to defend so scandelus an act ; 
 And as for thee, I hate thee Valenger, 
 
 And could be well content withall my hart, 1 160 
 
 To be thy deathes man, for thou hatest me, 
 Besids, yet Vallenger, consider this, 
 Hauing a wife so faire as Anabell, 
 Beloued of me thy foe, and so intierly, 
 
 That I do offer up my life for hers; 1 165 
 
 Should mercy pardon now what law doth threaten, 
 Thou must immagin if that we too 1 liue, 
 I still should go about to murder thee, 
 To injoy the wife, whom I so much do loue, 
 therefore beg of the King that onely I may die, 11 70 
 
 to saue her honor, and thy infamie. 
 
 Blu. Hark you huswife, do you heare all this : 
 Doth not your hart melt at this amis. 
 
 Flo. Melt Blunt yes, and doth weepe brinish tears, 
 /' to see what fames them and doth me confound, 1 175 
 
 ( w Heere is a glasse for such as hues by lust, 
 
 See what tis to be honest, what tis to be iust, 
 
 Blu. Why this is well : now Souveraine hear me speak, 
 
 1 Query, " two". 
 
The Faire Maide of Bristow. 8 1 
 
 If he that is supposed slaine doth liue, 
 
 Then friendly may we reconsile these iars. 1 1 80 
 
 King. Our law doeth light on none but guilty crimes : 
 And that it punisheth as iustice willes. 
 
 Blu. Why then vouchsafe all in this princely presence 
 This gentleman and I brought all to passe, 
 He in a Docter's shape, hath saved the life 1185 
 
 Of my frend Sentloe, and of Anabell, 
 I in like sort haue saved vallenger, 
 And Sentloe which by me should haue bin slaine, 
 I saued him by an honest policie. 
 
 And now aliue present him to your sight, 1190 
 
 To make a pleasing end to these sad sightes. 
 
 Here Sentloe putteth off his whod and kneeles downe. ^ 
 
 [Val.] This breaths new life into my hated hart. 
 
 Val. 1 Sweet beautious lettes, the rauser of my smart, 
 Forget in me what I haue done amisse, 
 
 And seale my pardon with one balmy kisse JI 95 
 
 My soule repents her lewd impyetie, 
 
 Ana. My blouds deere solace, and my best content, 
 My only deere esteemed Vallenger, 
 Not all the world being turned into pleasure, 
 Could giue my soule such sweet contented treasure, 1200 
 
 Thou art more deere, more pleasing to my minde, 
 then at the first : before thou prou[d]est unkind, 
 tis insident for yong men to offend, 
 And wines ' must stay their leasures to amend. 
 
 Chal. This kind contryssion of yong Vallenger, 1205 
 
 More toyes my hart then rest to travelers, 
 Liue long together and may neuer fate, 
 this new ioynd league of marriage seperate. 
 
 'Belongs in verse 1 192. 
 * Mistake for ' ' wives' ' . 
 
82 The Faire Maide of Bristow. 
 
 Har. The like say I, to thee that now hath tryed, 
 A friends firme faith, that nothing can diuide, 1210 
 
 Sent. The which I will indeuer to deserue, 
 And not so much as once in thought to swerue. 
 
 King. Since all things sorteth to this happiness, 
 And pining care, is turned to ioyfull mirth, 
 I will be partner in your meryment, 121 5 
 
 Away with that same tradgike monument, 
 For that same Florence there, because we see, 
 She sorrowes somthing for her follies past, 
 Let her be had among the Conuertines, 
 
 And as her faults shall vanish, or else stay, 1220 
 
 Let her be used accordingly. Away with her, 
 Glad parents, and glad frends, 
 In Bristow here awhile ourselues will stay, 
 And spend some sportfull houres to crowne your ioy 
 After so many troubles, and tyerd annoy. 1225 
 
 Exit omnes. 
 FJNIS. 
 
NOTES. 
 
13- Fachon. Falcon. 
 
 19. Fewelt. Fuel. 
 
 39. Note omission of the sign of the infinitive. Cf. Abbott's Shake- 
 spearian Grammar, Par. 349. "The rest I wish thee gather," 
 1 Hen. VI, II. 5- 96. 
 
 64. Liberall. Too free, licentious. Cf. Much Ado, IV, 1: 
 "Who hath indeed, most like a liberal villain, 
 Confess'd the vile encounters they have had 
 A thousand times in secret " 
 
 70. Culler. A quarrelsome, swaggering fellow. Cf. The Cutter of 
 Coleman Street, by Cowley, also How a Man May Choose a 
 Good Wife from a Bad, V, 1. 
 
 72. Presently. At once. 
 
 82. Fond. Foolish. 
 
 83. Exspect. Perhaps used in obs. sense of "require " or "need" 
 
 or perhaps simply a mistake for "'respect." 
 
 91. Cockatryce. A current name for a loose woman, probably on 
 
 account of the fascination of the eye, which property the 
 original and fabulous creature was supposed to possess. 
 Cf. London Prodigal, V, I. 
 
 92. Stall. A decoy. A variant of "stale." 
 
 no. Grissel. Refers to the well-known ballad of that name and 
 to the play Patient Grissil by Dekker and Chettle 
 
 112. And if. Cf. Abbott's Shakespearian Grammar, Par. 101. 
 
 119. Humors. Ruling trend of disposition. Carelessly used. The 
 original sense was moisture, there being four principal 
 humors or fluids in the body; blood, phlegm, choler and 
 melancholy, from which came the four temperaments, the 
 sanguine, phlegmatic, choleric and melancholic. 
 
 130. Draconis. Dracaena, a genus of lilaceous trees, natives of the 
 tropical regions of Africa, Asia and Polynesia, including about 
 thirty-five species, one of which produces the resin called 
 dragon's blood. 
 
 155. Cf. Romeo and Juhet, I, 3, 75. 
 
 "Nurse. A man, young lady ! lady, such a man 
 
 As all the world — why, he's a man of wax." 
 
 171. Crosse. At variance with, adverse, opposed. Cf. Beaumont 
 and Fletcher, King and No King, IV, 4. 
 
 "To these cross accidents I was ordained" 
 
 177. Soiorne. Sojourn. 
 
 (85) 
 
86 The Faire Maide of Bristow. 
 
 182. The play seems to have been cut here. Probably something 
 
 has been said about the marriage. 
 206. See ballad Pilgrim to Pilgrim, in Schelling's A Book of Eliza- 
 bethan Lyrics, p. 4, line 35, 
 
 ' ' He is won with a world of despair 
 And is lost with a toy . " 
 217. Weed. A garment. 
 221. Tire. Attire. 
 224. The modern reading would be 
 
 ' ' How think you ? He told me that he set it in the letter. ' ' 
 But the absolute use of "told" is still frequent, especially with 
 children. 
 228. Cf. Wilkins, The Miseries of Enforced Marriage, II, 1. 
 "That I should entertaine thee for my man " 
 
 355. Maine. The heart of the matter. 
 
 356. Let. Hindrance. 
 
 388-393. It is possible that these five lines are a rude satire on the 
 balanced, allusive and antithetic style of the school of Lyly. 
 
 394. In Act II, Sc. t, of Troilus and Cressida, Hector quotes Aristotle 
 and discusses abstract questions of right and wrong. 
 
 407. Cf. Lodge — Euphues Golden Legacie. Shakespeare' s Library, 
 Part 1, v. 2, p. 102. 
 
 "I hope my Mistresse respectes the vertues, not the wealth 
 and measures the qualities, not the substance." 
 
 423. Geere. Gear, meaning matter or affair. Cf. Fletcher and Shirley, 
 The Night Walker, V, 1. 
 "You wo' not to this geer of marriage then?" 
 
 428. Cf. the song at the end of Ralph Roister Doister, " I mun be mar- 
 ried a Sunday." Ed. Shakespeare Soc. Pub., p. 87. 
 
 442. Copar. Copper. 
 
 459. Cf. Spanish Tragedy, II (page 50, vol. 5, in Dodsley's Ed.). 
 " Instead of watching I'll deserve more gold 
 By fetching Don Lorenzo to this match. ' ' 
 
 462. By this light. A common form of oath. Cf. London Prodigal, 
 
 III, 3, and Wilkins, Miseries of Enforced Marriage, V., 
 
 " By that light that guides me here." 
 
 489. Rebato. A falling band — a collar turned over upon the shoul- 
 ders or supported in a horizontal position like a ruff. 
 
 526. Jellious. Jealous. 
 
 532. Report. To return. 
 
 538. Impart. To share with. 
 
 541. Crash of your office. "Crash" is used in its obsolete sense of 
 about of amusement or a short spell. Cf. Brome, The New 
 Academy, III. 1, 
 " Come, Gentlemen, shall we have a crash at cards?" 
 
Notes. 87 
 
 This meaning would explain the passage. In The Puritan, 
 1,4, occurs the line 
 "Ay, I pray master eeper, give us a cast of your office." 
 It may be that "crash" is used in 541 by mistake for "cast." 
 
 549. Abroach. On foot, going, spread abroad. Cf. 2 Henry IV, 
 
 IV, 2, 
 
 "What mischiefs he might set abroach." 
 
 550. The drunken mirth. Possibly a popular song or dance tune. 
 
 Cf. the dance called " The drunken round" in Eastward Ho, 
 HI, 3- 
 554. Vild. A doublet of vile . Cf. line 1030, and Times Whistle, p. 44, 
 " Be thy life ne're so vild." 
 Also the Costlie Whore, I, i, Bullen'sO/d Plays, Vol. 4, p. 336. 
 "An upright sentence of an act so vilde." 
 561. My griefs so iumpswith thine. An example of the verbal third 
 person plural in " s," from the Northern Early English form. 
 565. A round. The allusion is to the fact that all are "singing the 
 same song," i. e., are of the same opinion. A round was a 
 song in which each person sang the same tune, but in such a 
 succession that harmony resulted. 
 571. Rather I am an ethyop, joule, deform d, 
 And therefore hated of my Vallenger. 
 Cf. London Prodigal, V, 1, 
 
 " I am no Ethiop, 
 No wanton Cressid, nor a changing Helen." 
 609. This line means that delay is the comparative to danger, i. e. 
 
 danger is bad, but delay is worse. 
 654. /. Aye. 
 663. Note the use of singular verb with two nouns, both of which are 
 
 singular. Cf. Abbott's Shakespearian Grammar, Par. 336. 
 686. Perhaps an echo of the oft-repeated phrase in Richard III, V, 3, 
 
 •" Despair and die ! " 
 694. Doyt. A small copper coin, the eighth part of a stiver, formerly 
 current in the Netherlands and Dutch colonies, worth about 
 a farthing. 
 793. Rode. Rood. A measure of earth, here land in general. 
 798. Note use of plural verb here, under the influence of plural noun 
 
 between subject and verb. 
 806. This here. i. a., This man here. 
 
 820. Glosed. Explained away, veiled with specious comments. 
 836. Cf. Shoemaker's Holiday, V, 5, 
 
 "Rose. Can you divide the body from the soul, 
 Yet make the body live?" 
 844. Trull. A harlot. 
 
88 The Faire Maide of Br is tow. 
 
 861. Neck verse. A verse in the Bible, usually Ps. li, 3 ; formerly set 
 by the ordinary of a prison before a malefactor claiming bene- 
 fit of clergy, in order to test his ability to read. If he could, 
 he was burned in the hand and set free, thus saving his neck. 
 
 872. Cf. London Prodigal, III, 3, 
 
 " It grieves me at the soul to see her tears 
 Thus stain the crimson roses of her cheeks. 
 
 904. leats. Variant spelling of 3d person singular, pres. indicative 
 of "jet," to strut or stalk proudly. Cf. Twelfth Night, II, 5. 
 "Oh peace! Contemplation makes a. rare turkeycock of him ! 
 how he jets under his advanced plumes." 
 
 906. Quean. A loose woman 
 
 922. Corish. Currish 
 
 942. Discride. Variant spelling of " descried " : disclosed, discovered. 
 
 957. In these three last front terror. This line is not clear. Tieck 
 translates it 
 
 " Und dass der Schrecken alle drei beherrscht." 
 This is certainly not the meaning, as Vallenger and Flor- 
 ence, whatever their failings may have been, were no cowards, 
 and Harbart knew that he had only to say the word to free 
 himself. I should read the line 
 
 In these three last [of all] front[s] terror 
 using the verb " fronts " in its Elizabethan sense of " to stand 
 foremost." 
 
 960. Proffe. Proof. 
 
 978. Father, forgive the follies of my youth. Cf. London Prodigal V, i, 
 "Pardon, dear father, the follies that are past." 
 
 981. Indented. Proved. An indenture was proved by fitting it to 
 
 the other copy, which had been cut zigzag in a corresponding 
 manner. 
 
 982. Indued. Endowed. Cf. Spenser, Faery Queene, II, 2, 6. 
 
 " Of those some were so from their sourse indcwd 
 By great Dame Nature." 
 
 989. Penerian rockes. Query, Pierian? 
 
 990. Perst. Pierced. 
 
 1017. Phillip. No known meaning of philip explains this line as it 
 stands. My colleague, Dr. C. G. Child, suggests the substi- 
 tution of "by" for "like." This change and the use of the 
 word in the sense of a jerk of the finger would make quite a 
 strong metaphor of the line. 
 
 102 1. Constant in naught but in inconsiancie. Cf. Dekker, The Honest 
 Whore, II, 1. 
 
 "A mingled harlot 
 Is true in nothing but in being false." 
 
Notes. 89 
 
 1122-4. The grave is as the pubhck theater, etc. 
 
 An interesting bit of evidence as to the lack of reserved 
 seats. 
 1 1 43 . This line may be 
 
 "We asked a man, and she, a woman, to delude us? " 
 or there may be something omitted. 
 1158. Dejend. Forbid. Cf. Ben Jonson, The Devil is an Ass I 4. 
 
 "I doe defend 'hem any thing like action." 
 1 1 73. Amis. Fault, wrong, Cf. Hamlet, IV, 5, 
 
 "Some great amis." 
 1 193. Leltes. A variant spelling of "lettice," early modern English 
 spelling of lettuce; the reference is to the soporific qualities 
 of the plant. 
 1 193. Rauser. Raser, from rase (erase) . 
 1206. Toyes. Makes glad. 
 
 1213. Sorteth. Tends, leads. Cf. Bacon, Essay on Friendship, ed. 
 Whately, p. 281. 
 
 "They raise some persons to be as it were companions and 
 
 almost equal to themselves, which many times sorteth to 
 
 inconvenience . ' ' 
 
 1 2 19. Convertines. - A house where fallen women were placed in order 
 
 to be given an opportunity to repent. Cf. Webster, The 
 
 White Devil, IV, 1, where Vittoria is placed in such a house. 
 
INDEX. 
 
 Abbott, E. A., 85, 87. 
 
 abroach, 87. 
 
 Account of the English Dramatick 
 
 Poets, 7. 
 Action, 21. 
 
 Admiral's company, 15. 
 Aglaura, 15. 
 Alexandrines, 23. 
 Aminadab, Sir, 11, 29. 
 amis, 89. 
 
 Anabell, 12, 23, 24, 29, 87. 
 Anselm, Master, 11, 12, 29. 
 Arber, Edmund, 7, 22. 
 Aristotle, 86. 
 Armin, Robert, 20, 21. 
 Armin, Robert, Works of, 21. 
 Arthur, Mistress, 11, 12, 29. 
 Arthur, Old Master, 12, 29. 
 Arthur, Young Master, 11, 12, 29. 
 
 Bacon, Francis, 89. 
 Bagford Ballads, 10. 
 Baker, D. E., 7. 
 Barnes, Barnaby, 20-22. 
 Bartley, 29. 
 
 Beaumont, Sir Francis, 85. 
 Biographia Dramatica, 7. 
 Biographical Chronicle of the Eng- 
 lish Drama, 7, 8, 11, 18, 21. 
 Bishop Percy's Folio Manuscript, 
 
 9- 
 Blackfriar's Theater, 8. 
 Boccaccio, 25. 
 Bodleian Library, 8. 
 Bolte, J., 7, 8, 10, 11, 23, 31. 
 Boniface, Sir, 29. 
 Book of Elizabethan Lyrics, 86. 
 Boyster, 26, 29. 
 
 Brabo, 11, 29. 
 Bristol Tragedy, 15. 
 British Museum, 8, 11, 31. 
 Brome, Richard, 86. 
 Bullen, A. H., 7, 15, 87. 
 
 Caesura, 19. 
 
 Challener, 12, 23, 24, 29. 
 
 Chappell, W., 9. 
 
 Characters, balance of, etc., 20, 
 
 23, 24, 27, 28. 
 Chartley, Old, 26, 29. 
 Chartley, Young, 26, 29. 
 Chronicle of the English Drama, 
 
 Biographical, 7, 8, 11, 18, 21. 
 Chronicle Play, English, 7. 
 Cintio. Giovanni Geraldi, 13. 
 Clare, 27, 29. 
 Classical allusion, 17. 
 cockatryce, 85. 
 
 Collier, J. P., 7, 8, 14, 20, 24. 
 Comedias of Lope de Vega, 25. 
 Convertines, 89. 
 Cooke, Joshua, ii 
 copar, 86. 
 corish, 88. 
 Costlie Whore, 87. 
 Cowley, Abraham, 85. 
 crash, 86. 
 crosse, 85. 
 cutter, 85. 
 Cutter of Coleman Street, 85. 
 
 Day, John, possibility of his au- 
 thorship of The Faire Maide of 
 Bristow, 14-20; the Fair Maid 
 ascribed to, by Collier, 14; 
 entry in Henslowe's Diary con- 
 
 (91) 
 
9 2 
 
 Index. 
 
 cerning, 14; catalogued as au- 
 thor of the Fair Maid in the 
 Bodleian Library, 15; his poetic 
 merit proves him not the au- 
 thor, 16; satire, 16; classical 
 allusions, 17; use of Latin, 17; 
 rich vocabulary, 17; imagery, 
 17; extended comparisons, 17; 
 sometimes involved and ob- 
 scure, 17; humor, 18; use of 
 riming retort, 18; relation of 
 prose to verse, 18 ; comparison 
 of the metre of his works and 
 that of Fair Maid, 18, 19; denial 
 of his authorship of a part of 
 Humor out of Breath not justi- 
 fied, 18; summary, denying his 
 authorship of the Fair Maid, 
 19, 20. 
 
 Day, John, Works of, 7 , 15. 
 
 Decameron, 25. 
 
 defend, 89. 
 
 Dekker, Thomas, 88. 
 
 Devil is an Ass, 89. 
 
 Devil's Charter, 21. 
 
 Diary of Philip Henslowe, 7, 14. 
 
 discride, 88. 
 
 Disguises, 10. 
 
 Dodsley, Robert, ii, 86. 
 
 Doubtful Plays of Shakespeare, 13. 
 
 Douce, 13, 16, 18, 23. 
 
 doyt, 87. 
 
 Draconis, 130. 
 
 Drama, Biographical Chronicle of 
 the, 7, 8, 11, 18, 21. 
 
 Dramatic Poetry, History of Eng- 
 lish, 7, 24. 
 
 Dramatick Poets, Account of the 
 English. 7. 
 
 drunken mirth, S7; round, 87. 
 
 Duchess of Malfi, 25. 
 
 Eastward Ho, 87. 
 
 Elizabethan Lyrics, Book of, 85. 
 
 English Chronicle Play, 7. 
 English Drama, Biographical 
 Chronicle of the, 7, 8, n, 18,2 1. 
 English Dramatic Poetry, History 
 
 of, 7- 2 4- 
 English Dramatick Poets, Account 
 
 of the, 7. 
 English Garner, 22. 
 Essay on Friendship, 89. 
 Euphues Golden Legacie, 86. 
 Eustace Vallenger, Sir, 12, 23, 29. 
 exspect, 85. 
 
 fachon, 85. 
 
 Faery Queene, 88. 
 
 Faire Maide of Bristow, transla- 
 tion by Tieck, 3, 7, 8, 28, 29; 
 circumstances of the publica- 
 tion of this edition, 3; first 
 published in 1605, 7; suggested 
 authorship of Day, 7; sources 
 of, 7, 8-14; Bolte's specula- 
 tions in regard to, 7, 8, 10; 
 entry of in Stationers' Register, 
 7; acted first probably at 
 Hampton Court, 8; afterwards 
 possibly at Blackfriars' Theater, 
 8; three copies extant, 8; 
 Tieck's manuscript copy, 8; 
 Collier's comments on its 
 sources, 8; title possibly sug- 
 gested by Maudlin, 9 ; relation 
 of Maudlin to, 8-10; of Jack 
 Strawe, 10; of Look About You, 
 10, 11; real model of, How a 
 Man May Choose a Good Wife 
 from a Bad, 11-13; no slavish 
 imitation of one original, 1 2 ; 
 relation of to The London Prodi- 
 gal, 13, 14; suggested author- 
 ship of, by Day, examined, 
 14-20; entries in Henslowe's 
 Diary thought to have reference 
 to this play, 14; catalogued as 
 
Index. 
 
 93 
 
 by Day in Bodleian Library, 
 15; Bullen's opinion on Day's 
 authorship, 15; a tragedy 
 turned into a comedy, 15; a 
 reconciling drama, 15; su- 
 periority of last three scenes, 
 15; possible early example of 
 play with alternative fifth act, 
 15; scanty poetic merit of, 16; 
 little satire in, 16, 17; vo- 
 cabulary meagre, 17; imagery 
 rare, 17; language clear and 
 straightforward, 18; humor in, 
 18; riming retort, 18; metrical 
 analysis of, 18, 19; summary 
 of points disproving Day's au- 
 thorship, 19, 20; Wilkins's 
 authorship considered, 20, 21; 
 Miseries of Enforced Marriage 
 compared with, 20, 21; Armin's 
 authorship considered, 21; and 
 that of Barnes, 21, 22; evidence 
 regarding the author, 22—24; 
 probably an actor, 22, 23; a 
 piece of journeyman work, 23 ; 
 regularity and balance of char- 
 acters in, 23; a portion written 
 later than that which precedes 
 it, 23; probably cut in first 
 four acts, 23; action the es- 
 sential thing to the author, 23; 
 a good acting-play, 23; char- 
 acters well drawn, 23, 24; comic 
 scene well done, 24; faults, 24; 
 classed by Collier as a murder- 
 play, 24; rather a play of the 
 ''faithful wife" group, 24; nar- 
 rower group to which it be- 
 longs, 26; typical theme in 
 this group, 27; diagram show- 
 ing relations, 29; marginal 
 notes on English copy used 
 by Tieck, 30; the present edi- 
 tion, 30, 31. 
 
 Fair Maid of the West, 25. 
 Falconbridge, Lord, 27, 29. 
 Feminine endings, 19, 22. 
 fewelt, 30, 85. 
 
 Fleay, F. G., 7, 8, 11, 18, 21. 
 Fletcher, John, 85, 86. 
 Florence, 9, 12, 13, 29, 88. 
 Flowerdale, Matthew, 21, 23, 26, 
 
 29. 
 Flowerdale, Senior, 26, 29. 
 fond, 85. 
 
 Fortune Theater, 15. 
 Frances, 27. 
 Frog, 13, 16, 18, 23. 
 front, 88. 
 Fuller, 11. 
 Furnivall, F. J., 9. 
 
 geere, 86. 
 
 glosed, 87. 
 
 Godfrey, Umphreville, Sir, 9, 12, 
 
 23, 29- 
 Gratiana, 26. 
 
 Greenshield, Sir Arthur, 29. 
 Griselda, 25. 
 Grissel, 85. 
 Grosart, Alexander, 21. 
 
 Hales, John W., 9. 
 
 Hamlet, 89. 
 
 Hampton Court, 8, 15. 
 
 Harbart, 9, 24, 88. 
 
 Harringfield, 29. 
 
 Hazlitt, "W. Carew, 7, 11, 14. 
 
 Hecatommithi, 13. 
 
 Hector, 86. 
 
 Henry IV, 87. 
 
 Henry VI, 85. 
 
 Henslowe, Philip, 7. 
 
 Heywood, Thomas, ii, 29. 
 
 Hindley, C, 9. 
 
 History, unnatural natural 30. 
 
 Honest Whore, 25, 85. 
 
94 
 
 Index. 
 
 How a Man May Choose a Good 
 Wife from, a Bad, 11-13, 2 5> 26 > 
 29,85. 
 
 Humor of Day and Fair Maid 
 compared, 18. 
 
 Humor out of Breath, 18. 
 
 Humors, the, 85. 
 
 L87. 
 
 if, and, 85. 
 
 Ilford, 29. 
 
 Imagery of Fair Maid, compared 
 
 with that found in works of 
 
 Day, 17. 
 impart, 86. 
 indented, 88. 
 indued, 88. 
 
 Infinitive without sign, 85. 
 Isle of Gulls, 16, 18. 
 
 James I, 8. 
 jeats, 88. 
 jellious, 86. 
 Jones, Stephen, 7. 
 Jonson, Ben, 20, 89. 
 
 Katharine, 27, 29. 
 
 Kind, 30. 
 
 King and no King, 85. 
 
 King's company, 8, 15, 20, 21, 29. 
 
 Klein, J. L., 25. 
 
 Konigliche Bibliothek, 8. 
 
 Kyd, John, 86. 
 
 Langbaine, Gerard, 7. 
 
 Lassingberge, 23. 
 
 Latin, use of, 17, 21. 
 
 Law Trickes, 17, 18. 
 
 let, 86. 
 
 lettes, 89. 
 
 Lewis, 0. F.,3. 
 
 liberall, 85. 
 
 Life and Death of Jack Strawe, 10. 
 
 light, by this, 86. 
 
 Lodge, Thomas, 86. 
 
 London Prodigal, 21, 25-27, 29, 
 
 85, 86, 87, 88. 
 Look About You, 10, 11, 30. 
 Lope de Vega, 25. 
 Luce, father of, 29. 
 Luce (in The Wise Woman), 26, 
 
 29. 
 Luce (in The London Prodigal) , 26, 
 
 29. 
 Luce, "the second," 26, 29. 
 Lucilla, 25. 
 
 Lusam, Old Master, 11, 12, 13, 29. 
 Lusam, Young Master, 12, 29. 
 Lyly, John, 17, 86. 
 
 maine, 86. 
 
 Manual for the Collector and Ama- 
 teur of Old English Plays, 7, 14. 
 
 Mary, 11, 12, 13, 29. 
 
 Masculine endings, 19. 
 
 Match Me in London, 2 5 . 
 
 Maudlin, the Merchant's Daughter 
 of Bristol, 8-10. 
 
 Mayor Imposible , El, 25. 
 
 Measure for Measure, 25. 
 
 Metrical Analysis of Day and Fair 
 Maid, 18. 
 
 mirth, drunken, 87. 
 
 Miseries of Enforced Marriage, 20, 
 21, 25-27, 29, 86. 
 
 Mucedorus, 28. 
 
 Much Ado about Nothing, 85. 
 
 Murder-plays, 24. 
 
 neck verse, 88. 
 New Academy, 86. 
 Niemand und Jemand, 28. 
 Night Walker, 86. 
 Nobody and Somebody, 28. 
 
 Old English Plays, 1 1 . 
 Old Plays, 87. 
 Oliver, 29. 
 Othello, 25. 
 
Index. 
 
 95 
 
 Parliament of Bees, 16. 
 
 Parthophil and Partkenophe, 22. 
 
 Patient Grissil, 25, 85. 
 
 Pavyer, Thomas, 7, 35. 
 
 Penerian rockes, 88. 
 
 perst, 88. 
 
 Petrarch, 25. 
 
 phillip, 88. 
 
 Pilgrim to Pilgrim, 86. 
 
 Plural in s, verbal 87. 
 
 presently, 85. 
 
 proffe, 88. 
 
 Puritan, 87. 
 
 Quartos of play, 8. 
 quean, 88. 
 
 Ralph Roister Doister, 86. 
 
 rauser, 89. 
 
 Reason, Justice, 12, 29. 
 
 rebato, 86. 
 
 Reed, Isaac, 7. 
 
 Rennert, H. A., 3, 25. 
 
 report, 86. 
 
 Retort, riming, 18. 
 
 Richard I, 12, 24, 29. 
 
 Richard III, 87. 
 
 Rime, 19, 22. 
 
 Riming retort, 18. 
 
 rode, 87. 
 
 Romeo and Juliet, 23, 85, 
 
 round, S7. 
 
 Rowley, William, 20. 
 
 Roxburghe Ballads, A Book of, 
 
 8-10. 
 Run-on-lines, 19, 21. 
 
 Satire, 16, 17. 
 
 Scarborow, William, 27, 29. 
 Scarborow, Sir William, 27, 29 
 Schelling, F. E., 3, 7, 22, 86. 
 Schick, Josef, 3. 
 
 Schone Madchen von Bristol, Das, 
 
 28. 
 Sencer, 29. 
 Sentloe, 12, 24, 29. 
 Shakespeare, William, 20. 
 Shakespeare Jahrbuch, 3, 7, 10, 28. 
 Shakespeare's Library, 86. 
 Shakespeare Society's Publications , 
 
 7,86. 
 Shakespearian Grammar, 85, 87. 
 Shirley, James, 86. 
 Shoemaker's Holiday, 25, 87. 
 soiorne, 85. 
 Soliloquies, 21. 
 sorteth, 89. 
 Sources, 7-14. 
 Spanish Tragedy 86. 
 Spenser, Edmund, 88. 
 Spurcock, Sir Launcelot, 26, 27, 
 
 29. 
 stall, 85. 
 Stationers' Register, 7,9. 
 
 tell, 86. 
 
 this here, 87. 
 
 Tieck, Ludwig, 3, 8, 28, 30, 31, 
 
 88. 
 Time's Whistle. 87. 
 tire, 86. 
 
 Tourneur, Cyril, 20, 
 toyes, 89. 
 Travels of the Three English 
 
 Brothers, 20. 
 Translation of The Faire Maide of 
 
 Bristow, 28, 30. 
 Troilus and Crcssida, 86. 
 trull, 87. 
 
 Twelfth Night, 88. 
 Two Maids of More Clacke, 21. 
 Two Tragedies in One, 24. 
 Tyrell, Henry, 13. 
 
 Umphreville, Sir Godfrey, 9, 
 23. 2 9- 
 
 12, 
 
9 6 
 
 Index. 
 
 Vallenger, Edward, 12, 23, 24, 29, 
 
 88. 
 Vallenger, Sir Eustace, 12, 23, 29. 
 verb, present indicative plural in 
 
 s of, 87; use of, in the singular 
 
 with two nouns as subjects, 87; 
 
 erroneous use of plural, 87. 
 vild, 87. 
 Vocabulary of Day and Fair 
 
 Maid compared, 17. 
 Vorschule Shakespeares, 28. 
 
 Ward, A. W., 7. 
 Weathercock, 13. 
 Webster, John, 25, 89. 
 
 weed, 86. 
 
 Wentloe, 29. 
 
 Whately, Richard, 89. 
 
 White Devil, 25, 89. 
 
 Wife, faithful, 25, 26. 
 
 Wilkins, George, 20, 21, 29, 86. 
 
 Winter's Tale, 25. 
 
 Wisdom of Dr. Doddipoll, 25. 
 
 Wise Woman of Hogsdon, 25, 26, 
 
 29. 
 Woman, Wise, 26. 
 Worcester's company, Earl of, 11, 
 
 29. 
 
 Yorkshire Tragedy, 25.