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Footnotes
1 The first volume of this folio appeared in 1616. A reprint of this volume in 1640 is sometimes called the Second Folio. It should not be confused with the 1631-41 Edition of the second volume.
2Note prefixed to Bartholomew Fair.
3 Eng. Drama, p. 78.
4 Eng. Drama 2. 296.
5 N. & Q. 4th Ser. 5. 573.
6 Bibliog. Col., 2d Ser. p. 320.
7 Bibliog. Col., p. 320. For a more detailed description of this volume see Winter, pp. xii-xiii.
8 For a collation of this edition, see Mallory, pp. xv-xvii.
9 Collier, Annals 3. 275, 302; Fleay, Hist. 190.
10 Roscius Anglicanus, p. 8.
11 ‘A play of his, upon which he was accused, The Divell is ane Ass; according to Comedia Vetus, in England the Divell was brought in either with one Vice or other: the play done the Divel caried away the Vice, he brings in the Divel so overcome with the wickedness of this age that thought himself ane Ass. Παρεργους [incidentally] is discoursed of the Duke of Drounland: the King desired him to conceal it.’—Conversations with William Drummond, Jonson’s Wks. 9. 400-1.
12 Wks. 3. 158.
13 Wks. 5. 105 f. Cf. also Shirley, Prologue to The Doubtful Heir.
14 Count Baudissin translated two of Jonson’s comedies into German, The Alchemist and The Devil is an Ass (Der Dumme Teufel).
15 Eckhardt, p. 42 f.
16 Ibid., p. 67 f.
17 In general the devil is more closely related to the clown, and the Vice to the fool. In some cases, however, the devil is to be identified with the fool, and the Vice with the clown.
18 In the Digby group of miracle-plays roaring by the devil is a prominent feature. Stage directions in Paul provide for ‘cryeing and rorying’ and Belial enters with the cry, ‘Ho, ho, behold me.’ Among the moralities The Disobedient Child may be mentioned.
19 So in Gammer Gurton’s Needle, c 1562, we read: ‘But Diccon, Diccon, did not the devil cry ho, ho, ho?’ Cf. also the translation of Goulart’s Histories, 1607 (quoted by Sharp, p. 59): ‘The fellow—coming to the stove—sawe the Diuills in horrible formes, some sitting, some standing, others walking, some ramping against the walles, but al of them, assoone as they beheld him, crying Hoh, hoh, what makest thou here?’
20 Cf. the words of Robin Goodfellow in Wily Beguiled (O. Pl., 4th ed., 9. 268): ‘I’ll put me on my great carnation-nose, and wrap me in a rowsing calf-skin suit and come like some hobgoblin, or some devil ascended from the grisly pit of hell.’
21 Cushman points out that it occurs in only one drama, that of Like will to Like. He attributes the currency of the notion that this mode of exit was the regular one to the famous passage in Harsnet’s Declaration of Popish Impostures (p. 114, 1603): ‘It was a pretty part in the old church-playes, when the nimble Vice would skip up nimbly like a jackanapes into the devil’s necke, and ride the devil a course, and belabour him with his wooden dagger, till he made him roare, whereat the people would laugh to see the devil so vice-haunted.’ The moralities and tragedies give no indication of hostility between Vice and devil. Cushman believes therefore that Harsnet refers either to some lost morality or to ‘Punch and Judy.’ It is significant, however, that in ‘Punch and Judy,’ which gives indications of being a debased descendant of the morality, the devil enters with the evident intention of carrying the hero off to hell. The joke consists as in the present play in a reversal of the usual proceeding. Eckhardt (p. 85 n.) points out that the Vice’s cudgeling of the devil was probably a mere mirth-provoking device, and indicated no enmity between the two. Moreover the motive of the devil as an animal for riding is not infrequent. In the Castle of Perseverance the devil carries away the hero, Humanum Genus. The motive appears also in Greene’s Friar Bacon and Friar Bungay and Lodge and Greene’s Looking Glass for London and England, and especially in Histriomastix, where the Vice rides a roaring devil (Eckhardt, pp. 86 f.). We have also another bit of evidence from Jonson himself. In The Staple of News Mirth relates her reminiscences of the old comedy. In speaking of the devil she says: ‘He would carry away the Vice on his back quick to hell in every play.’
22 Cf. also Love Restored, 1610-11, and the character of Puck Hairy in The Sad Shepherd.
23 Hierarchie of the Blessed Angels 9. 574.
24 Part 3. Cant. 1, l. 1415.
25 Cf. Devil in Britain and America, ch. 2.
26 Geschichte des Teufels 1. 316, 395.
27 Hazlitt, Tales, pp. 39, 83.
28 Discovery, p. 522.
29 O. Pl., 4th ed., 3. 213.
30 Early Eng. Prose Romances, London 1858.
31 See Herford’s discussion, Studies, p. 305; also Quarterly Rev. 22. 358. The frequently quoted passage from Harsnet’s Declaration (ch. 20, p. 134), is as follows: ‘And if that the bowle of curds and cream were not duly set out for Robin Goodfellow, the Friar, and Sisse the dairy-maide, why then either the pottage was burnt the next day, or the cheese would not curdle,’ etc. Cf. also Scot, Discovery, p. 67: ‘Robin could both eate and drinke, as being a cousening idle frier, or some such roge, that wanted nothing either belonging to lecherie or knaverie, &c.’
32 Cf. Pug’s words, 1. 3. 1 f.
33 See Herford, p. 308.
34 A similar passage is found in Dekker, Whore of Babylon, Wks. 2. 355. The sentiment is not original with Dekker. Cf. Middleton, Black Book, 1604:
... And were it number’d well,
There are more devils on earth than are in hell.
35 Dekker makes a similar pun on Helicon in News from Hell, Non-dram Wks. 2. 95.
36 A paraphrase of Belfagor occurs in the Conclusion of Barnaby Riche’s Riche his Farewell to Militarie Profession, 1581, published for the Shakespeare Society by J. P. Collier, 1846. The name is changed to Balthasar, but the main incidents are the same.
37 Jonson refers to Machiavelli’s political writings in Timber (ed. Schelling, p. 38).
38 Eng. Dram. Lit. 2. 606.
39 Eckhardt, p. 195.
40 In W. Wager’s The longer thou livest, the more fool thou art.
[41] In Wapull’s The Tide tarrieth for No Man.
42 Subtle Shift in The History of Sir Clyomon and Sir Clamydes.
43 In Wilson’s The Three Ladies of London.
44 He is so identified in Chapman’s Alphonsus, Emperor of Germany c 1590 (Wks., ed. 1873, 3. 216), and in Stubbes’ Anat., 1583. Nash speaks of the Vice as an antiquated figure as early as 1592 (Wks. 2. 203).
45 Med. Stage, pp. 203-5.
46 Eckhardt, p. 145.
47 Sometimes he is even a virtuous character. See Eckhardt’s remarks on Archipropheta, p. 170. Merry Report in Heywood’s Weather constantly moralizes, and speaks of himself as the servant of God in contrast with the devil.
48 This designation for the Vice first appears in Nice Wanton, 1547-53, then in King Darius, 1565, and Histriomastix, 1599 (printed 1610).
49Wright, Hist. of Caricature, p. 106.
50 Doran, p. 182.
51 Ibid., p. 210.
52 See Herford, p. 318.
53 Woodbridge, Studies, p. 33.
54 Contrasted companion-characters are a favorite device with Jonson. Compare Corvino, Corbaccio, and Voltore in The Fox, Ananias and Tribulation Wholesome in The Alchemist, etc.
55 It should be noticed that in the case of Merecraft the method employed is the caricature of a profession, as well as the exposition of personality.
56 Langbaine, Eng. Dram. Poets, p. 289.
57 Quellen Studien, p. 15.
58 2. 2. 69.
59 Mentioned by Koeppel, p. 15.
60 So spelled in 1573 ed. In earlier editions ‘palafreno.’
61 Studien, p. 232.
62 See note 2. 1. 168 f.
63 Gifford points out the general resemblance. He uses Hutchinson’s book for comparison.
64 This book, so far as I know, is not to be found in any American library. My knowledge of its contents is derived wholly from Darrel’s answer, A Detection of that sinnful, shamful, lying and ridiculous Discours, of Samuel Harshnet, entituled: A Discoverie, etc.... Imprinted 1600, which apparently cites all of Harsnet’s more important points for refutation. It has been lent me through the kindness of Professor George L. Burr from the Cornell Library. The quotations from Harsnet in the following pages are accordingly taken from the excerpts in the Detection.
65 See Introduction, Section C. IV.
66 Swinburne, p. 65.
67 Cf. also Gosson, School of Abuse, 1579; Dekker, A Knight’s Conjuring, 1607; Overbury, Characters, ed. Morley, p. 66.
68 See New Inn 2. 2; Every Man in 1. 5; B. & Fl., Love’s Pilgrimage, Wks. 11. 317, 320.
69 Cf. Albumazar, O. Pl. 7. 185-6; Rom. and Jul. 2. 4. 26; Twelfth Night 3. 4. 335; L. L. L. 1. 2. 183; Massinger, Guardian, Wks., p. 346. Mercutio evidently refers to Saviolo’s book and the use of the rapier in Rom. and Jul. 3. 1. 93. Here the expression, ‘fight by the book’, first occurs, used again by B. & Fl., Elder Brother, Wks. 10. 284; Dekker, Guls Horne-booke, ch. 4; As You Like it 5. 4. Dekker speaks of Saviolo, Non-dram. Wks. 1. 120.
70 Overbury, ed. Morley, p. 72.
71 Ibid., p. 66.
72 Every Man in, Wks. 1. 35.
73 Letters to John Kempe, 1331, Rymer’s Foedera; Hulme, Law Quarterly Rev., vol. 12.
74 Cunningham, Eng. Industry, Part I, p. 75.
75 D’Ewes, Complete Journal of the Houses of Lords and Commons, p. 646.
76 Cunningham, p. 21.
77 Craik 2. 24. Rushworth, Collection 1. 24.
78 For a more detailed account of the drainage of the Lincolnshire fens see Cunningham, pp. 112-119.
79 Cf. Dekker, Non-dram. Wks. 3. 367.
80 Muse’s Looking Glass, O. Pl. 9. 180 (cited by Gifford).
81 Works, 1641, reprinted by the Spenser Society.
82 Character Writings, ed. Morley, p. 350.
83 See p. xix.
84 See Trials for Witchcraft 1596-7, vol. 1, Miscellany of the Spalding Club, Aberdeen, 1841.
85 First appeared in 1597. Workes, fol. ed., appeared 1616, the year of this play.
86 See Dedication to The Fox, Second Prologue to The Silent Woman, Induction to Bartholomew Fair, Staple of News (Second Intermean), Magnetic Lady (Second Intermean).
87 See the note prefixed to Staple of News, Act 3, and the second Prologue for The Silent Woman.
88 Ev. Man in.
89 Case is Altered.
90 Staple of News.
91 Dedication to The Fox.
92 The passage from the Gipsies especially finds a close parallel in the fragment of a song in Marston’s Dutch Courtezan, 1605, Wks. 2. 46:
Purest lips, soft banks of blisses,
Self alone deserving kisses.
Are not these lines from Jonson’s hand? This was the year of his collaboration with Marston in Eastward Ho.
In the text of the actual play, lowercase “s” has been replaced by the “long s”, “f”. The capital letter “W” is often replaced with “VV”, the letter “v” and the letter “u” are used interchangeably, and the letters “i” and “j” are also used interchangeably.
Many of the characters names in the play have various spellings,
e.g., MERE-CRAFT and MERECRAFT, EVER-ILL and EVERILL, FITZ-DOTTEREL and FITZDOTTEREL, PIT_FAL and PITFALL, DIVEL and DIVELL.
The footnotes in the actual play were added by the author as part of his thesis. The references for these footnotes are the line numbers. Since each scene begins the line numbers over at 1, these footnotes have been collected at the end of each scene, and refer to the appropriate line in the preceding scene.
Antiquated spellings and ancient words in the text of the play were preserved.