THE CHANGELING
Text edited and annotated by Douglas Bruster, introduced by Annabel Patterson
The Changeling has been, for at least a century, alive
and well in the theatre as well as the classroom. Like
Hamlet, as the play without which Shakespeare is unima-
ginable, it has defined Middleton’s canon around itself.
It has enhanced the otherwise slim reputation of William
Rowley, Middleton’s collaborator. Though most frequently
performed in English-speaking countries, it is known in
Europe, having been translated into French (1948, 1956,
1966), Italian (1946), Hungarian (1961), and Spanish
(1973); and it has even entered the territory of general
literacy. In a 1994 television series, To Play the King, De
Flores’s cynical line, ‘Some women are odd feeders’, was
complacently quoted by the evil British Prime Minister.
Like Hamlet, The Changeling is powered by a toxic brew of
domestic violence, sexual obsession and madness. Unlike
Hamlet, however, The Changeling locates those threats to
‘normality’ in the protagonist’s consummated sexual rela-
tionship, whose electric charge disables or at least disrupts
our evaluative reflexes.
One might not have written such a sentence fifty years
ago; but films like Blue Velvet (1986), The Draughtsman’s
Contract (1982), and The Night Porter (1973) have inured
us to studies in sexual obsession. The Night Porter, though
the earliest of these deliberate shockers, is the most
pertinent analogy, since it shows how a criminal record
in the past (of a concentration camp official and his
Jewish concubine) binds together in the postwar present
the hotel servant and the beautiful aristocrat, their social
roles reversed, their rediscovered passion entirely self-
destructive and entirely convincing. What has come over
the film industry, however, is only one of several changes
that make it time for a new account of The Changeling, one
that might beg to differ from N. W. Bawcutt’s brilliant and
humane introduction to his Revels edition in 1958.
Criticism of Jacobean drama was then predominantly
ethical in tone. Bawcutt declared that ‘the moral world’
of the play ‘is the orthodox Christian universe of sin and
punishment’, and at the end, as the betrayed husband
offers his father-in-law the filial duty that his daughter
had withheld, ‘moral order is finally established’. Today,
ethical judgement seems more complicated, and readers
and audiences will have contradictory responses. For
example, the tendency of feminism to see women as the
victims of the system can produce a protagonist who
merely overreacted to being forced to marry according
to her father’s will, not hers. But the critique of dynastic
marriage seems less pertinent here, where the daughter
suddenly changes her mind about whom she desires
as a husband, than in Women, Beware Women, where
1632
Middleton himself writes a passionate speech (for the
Isabella of that play) attacking it. And though Vermandero
and Alsemero will now appear to share more of the
blame, even today those who arrange for the murder of an
inconvenient mate may send shudders down our spines.
Horror, however, will not prevent us from identifying
more readily with guilty, scheming Beatrice-Joanna than
with the cool, hands-off Isabella of the hospital plot, or
from imagining what De Flores would be like as a lover.
Middleton added to his source the bad skin and ‘dogface’
that at some level attracts Beatrice as much as it repels
her, and, more importantly, makes it clear from what De
Flores says that his name matches his belief in defloration
as the quintessential form of sexual possession. But would
these reactions not have been equally possible for Jacobean
audiences? Our answer today may be different from those
who in the mid-century defined the ‘moral temper’ of
Jacobean tragedy; but it will likewise be only a guess.
We can speak more securely about the moral temper
of literary criticism, which has certainly changed. The
Christian-ethical vocabulary has been forgotten by readers
accustomed to Freudian and Lacanian psychoanalysis, for
whom sexuality is the power to which we owe allegiance.
This assumption competes with a renewed curiosity about
the sociopolitical circumstances in which the English pub-
lic theatre appeared and spread like some fabulous alien
growth. The extent to which The Changeling was specific-
ally a play for 1622 is now again an interesting question;
a political explanation may actually be necessary for oth-
erwise mysterious additions to the plot and inexplicable
remarks. And whereas Marxist and feminist approaches,
which may claim that The Changeling interrogates hier-
archical assumptions in the state and the family, reverse
the traditionally negative evaluations of characters who
breach them, a more narrowly historical approach will not
necessarily steer audience sympathy in the same direction.
Ideally, one would want to acknowledge all these pos-
sibilities, while remaining sensitive to the play’s capacity
to make us believe in its characters and their predica-
ment—the quality for which it continues to be successfully
revived.
The Changeling was a late work of both Middleton and
Rowley, and both seem to have profited from years of ex-
perience in a theatre where writerly collaboration was, as
we sometimes forget, as common as individual authorship.
It has been common practice since P. G. Wiggin’s 1897
study to attribute to Middleton most of the castle plot,
while to Rowley are assigned the hospital plot and the
opening and closing scenes of the play. And one strain of
 the changeling
modern criticism deriving from T. S. Eliot has wished the
hospital plot entirely away. Samuel Schoenbaum, himself
engaged in recuperating Middleton as a tragic writer,
declared it ‘stupid and tedious, and the treatment of
insanity . . . offensive to the modern reader’. Others, how-
ever, have been sensitive to the parallel-with-difference
structure, whereby Isabella’s successful resistance of her
two disguised suitors and the leering warder Lollio is
the normative foil to Beatrice-Joanna’s betrayals. Several
striking verbal analogies between the two plots suggest
how closely Middleton and Rowley intended them to be
related. Thus the famous moment when De Flores picks
up Beatrice-Joanna’s gloves and visibly ‘thrust[s his] \ . . .
fingers into her sockets’ (1.1.237–8) is followed in the
next scene by the sexual banter between Lollio and his
employer Alibius, who keeps the madhouse and who is
also Isabella’s newly-married and insanely jealous hus-
band. Will he manage to keep his new ‘ring’ on his own
finger? ‘If it but lie by,’ sneers Lollio, ‘one or other will be
thrusting into’t’ (1.2.30–1).
It seems obvious now that the madness and folly which
are literal in the hospital plot metaphorically indict the be-
haviour of all the castle-plot characters; not least because
an antemasque of madmen and idiots is to be included in
the wedding festivities for Alsemero and Beatrice-Joanna.
But Alibius’s speech describing his commission suggests a
still more mysterious relation between the two plots:
Only an unexpected passage over,
To make a frightful pleasure, that is all—
But not the all I aim at. Could we so act it
To teach it in a wild distracted measure,
Though out of form and figure, breaking Time’s
head—
(It were no matter, ’twould be healed again
In one age or other, if not in this). (3.3.280–6)
This enigmatic statement, so out of character for the
profit-conscious entrepreneur, is reminiscent of Hamlet’s
advice to the players that the purpose of theatre is to
‘show the very age and body of the time his form and
pressure’ (3.2.25). Its strangeness plausibly gives these
playwrights an alibi for defining their larger purpose. For
while ‘frightful pleasure’ implies the sexual Sublime, to
break time’s head and to imagine its healing in another
era suggests not self-destruction but reconstructive zeal.
The two plots explicitly converge in the last scene,
where Alsemero explicates the play’s title by listing the
‘changes’ or exchanges they have witnessed; of Beatrice-
Joanna into a whore, of De Flores into a murderer, of
Diaphanta for her mistress in the nuptial bed, of Tomazo
the avenger into a reasonable person. But he concludes
with the wide-open question, ‘Are there any more on’s?’
This permits the addition of not one but three changelings
from the hospital plot, Antonio, Franciscus and Alibius,
whose change, as Isabella points out, ‘is still behind’, by
which she means ahead. The title is therefore retroactively
rendered plural, The Changelings, and may even have
extension into the world outside the play.
1633
One should be wary, however, of taking Alsemero’s
complacent categories at face value, since he stands self-
accused of substituting skin-deep for inner beauty, as
also of susceptibility (as victim of a bed-trick) to the
cynical view that all cats are grey in the dark. As for
his remarkable observation that ‘servant-obedience’ has
changed in the person of De Flores to ‘a master-sin:
imperious murder’, it logically implies that murder is the
privilege of the aristocracy. This locution might support
a class-based analysis of the play such as proposed by
Jonathan Dollimore and modified by Cristina Malcolmson;
but it makes better sense in the context of a highly specific
political interpretation.
The most strenuous effort to provide this appears in a
1990 collaborative study by A. A. Bromham and Zara
Bruzzi, who read the entire play as a ‘hieroglyph’ of
its times, specifically the ‘years of crisis’ from 1619 to
1624. This is specificity indeed. But they can rightly
claim that Middleton signalled his general intentions by
topical allusion to the scandalous divorce of Frances
Howard, Countess of Essex, from Robert Devereux, third
earl of Essex, and her remarriage to Robert Carr, Earl of
Somerset, the King’s current favourite. The divorce was
achieved by the claim of non-consummation, confirmed by
a panel of matrons who examined the Countess internally.
There was widespread scepticism about this test, including
rumours that an actual virgin had been substituted for
the Countess, who insisted on remaining veiled. When
Beatrice-Joanna, terrified lest Alsemero will discover on
their wedding night that she is no longer intact, engages
Diaphanta as her substitute, and experiments on her with
the medical test intended for herself, Diaphanta mutters
in an aside: ‘She will not search me, will she, \ Like the
forewoman of a female jury?’ (4.1.102–3).
This odd remark was acknowledged by A. H. Bullen
in 1885 and by Margot Heinemann in 1980 as an
unmistakable allusion to the Somerset scandal; but in
the Modernist criticism of the interim its importance was
submerged. For Schoenbaum the whole episode of the
virginity test was ‘ridiculous’. Bawcutt saw it as fantastic,
and wondered whether Middleton himself ‘took it very
seriously’. But we should remember that while the name of
De Flores appeared in Middleton’s source, John Reynolds’s
The Triumphs of God’s Revenge against the Crying and
Execrable Sin of Murder, there is no such emphasis there
on defloration. Middleton added the entire episode of the
tests and the bed-trick, thereby making virginity and its
overvaluation a central theme of his tragedy.
In 1616, Howard and Somerset were tried for the
murder of a courtier, Sir Thomas Overbury, who had
strenuously opposed the divorce and remarriage. They
were found guilty; their accomplices were executed, but
their own sentences were commuted by James, and in
January 1622 they were released from their none-too-
uncomfortable restraint in the Tower. In that year it
would also, therefore, have been just possible to hear an-
other topical allusion in Alsemero’s strange remark about
Vermandero: ‘How shall I dare to venture in his castle
 the changeling
\ When he discharges murderers at the gate?’ (1.1.226–
7). Editors gloss this remark with the information that
‘murderers’ was a contemporary term for small cannon,
but the remark still seems unwarranted. Later, a textual
echo reinforces the more commonplace meaning—Ver-
mandero’s discovery that Antonio and Franciscus have
been missing from his retinue since the day of Piracquo’s
murder: ‘The time accuses ’em; a charge of murder \ Is
brought within my castle gate’ (4.2.10–11).
It may be that Middleton used these allusions as dis-
creet reparation for his earlier response to the Howard–
Somerset marriage, the Masque of Cupids written to cel-
ebrate it, of which no text survives. But by using the
Somerset affair as their key to interpretation, Bromham
and Bruzzi went far beyond seeing such hints at abuse of
power and privilege. They constructed a huge allegorical
edifice, in which almost every detail of the play text is
pressed into service. Middleton becomes a Puritan propa-
gandist like Thomas Scott, obsessed by the fear of Roman
Catholicism, which the Howard family were suspected of
promoting, but also packing his play with the language
of contemporary propaganda against Arminianism, the
halfway house of conservative theology. Popular opposi-
tion to the so-called Spanish marriage—James’s plan to
marry Prince Charles to the Spanish Infanta and so pro-
mote his dream of a Europe reunited by dynastic ties—
also becomes part of this frame, as does the crisis in the
Palatinate, where James’s own daughter Elizabeth and her
husband Frederick, the Elector Palatine of Bohemia, had
been driven out by Spanish forces. The nature and fate
of A Game at Chess proves that Middleton was concerned
with these issues. In what follows I want to distinguish
between that reasonable hypothesis and the manner in
which Bromham and Bruzzi stretch it beyond plausibility;
not least because they cite my own theories of how litera-
ture responds to censorship as encouragement for their
methods.
That recent European history was supposed to be part of
the interpretive context is signalled in the opening scene,
where Alsemero and Vermandero identify themselves as
Spaniards and hence as enemies of the Protestant Dutch.
Vermandero refers to the death of Alsemero’s father
at the Battle of Gibraltar in 1607, in which ‘those
rebellious Hollanders’ defeated the Spanish fleet, and
Alsemero responds, ‘Whose death I had revenged . . . had
not the late league \ Prevented me’ (1.1.186–9). This
locates the action as occurring shortly after the Treaty
of the Hague in 1609, which provided for a twelve-year
truce between Spain and the United Provinces. By the time
The Changeling was staged, the truce had lapsed (in 1621),
and those same ‘rebellious Hollanders’ had provided a
haven for the King and Queen of Bohemia.
This opening gambit presented The Changeling to audi-
ences of 1622 as a contemporary play about ‘Spanish’
values in the context of international relations; but ‘Spain’
is also in some sense England. In explaining to Beatrice-
Joanna that he is not rash in declaring his love for her
instantaneously, Alsemero compares his eyes to the House
1634
of Commons, his judgement to the Lords, their agreement
to the legislative consent of both Houses, her agreement
to the royal concurrence (1.1.78–82). This witticism,
a combination of Rowley’s punsterism with Middleton’s
mordant irony, would remind an alert audience not of
the smooth functioning of a limited monarchy, but of
the currently deadlocked relation between James I and
his Parliament. In 1621 the Commons had petitioned the
King to abandon his pro-Spanish policy and the Span-
ish marriage negotiations, and to engage instead in a
war against Spain, which would also constitute positive
intervention in the fate of the Palatinate. In response,
the King, who had already prohibited discussion of these
matters in the press or the pulpit, cut short official debate
by dissolving his Parliament.
From 1620 to 1624, when Parliament reconvened,
there were therefore unusually strong motives for the
theatre to take up the foreign policy debate. Both Jerzy
Limon and Thomas Cogswell have shown how censorship
and resistance to it, in the form of libels, sermons and
unlicensed pamphlets, were intensified in these years. In
A Game at Chess Middleton asks a telling question:
Whose policy was’t to put a silenced muzzle
On all the barking tongue-men of the time?
Made pictures, that were dumb enough before,
Poor suff’rers in that politic restraint? (3.1.102–105)
And one of the strongest points made by Bromham and
Bruzzi is that John Reynolds, the author whose story
Middleton borrowed for The Changeling, was himself an
anti-Spanish propagandist who suffered from this ‘politic
restraint’, being unable to publish his Vox Coeli until
1624, and then finding himself in prison in consequence.
Was The Triumph of God’s Revenge, entered in the Sta-
tioners’ Register on 7 June 1621, an alternative way of
‘picturing’ support for the Puritan/Protestant faction in
England? The tone of this collection, its focus on mur-
derers, and its prefatory reference to writers ‘cautious to
disguise and maske their Acts, under the vayles of other
names’ (sig. B2v ) would seem to answer yes. But there
is nothing in Reynolds’s version of Middleton’s tragic plot
that matches the political entry codes I have just observed
in The Changeling.
Other evidence from theatre history supports the hy-
pothesis of a European-political subtext. The Changeling
was licensed for performance on 7 May 1622 by Sir
John Astley. The theatre was the Phoenix, the company
the Lady Elizabeth’s, otherwise known as the Queen of
Bohemia’s, which had just been reconstituted for London
business in 1621 or 1622. After the disruptive plague of
1625 some of its members would merge with the remnant
of the Palsgrave’s (the Elector Palatine’s ancestor) in the
King and Queen of Bohemia’s Company. The company,
then, implied an allegiance. The Changeling was the first
of the plays licensed to the new company; and on 4
January 1624, Sir Henry Herbert recorded its court per-
formance ‘by the Queene of Bohemias company, . . . the
prince only being there’. This special performance before
 the changeling
Prince Charles, just back (in October) from his abortive
courtship of the Spanish Infanta, was probably a sign
that Charles and Buckingham had already switched their
policy from Hispanophilia to its opposite. Ironically, then,
Charles himself became one of the many ‘changelings’
whose inconstancy the play either feared or encouraged.
But the most that can be argued from this collage
of internal signposts and stage historical detail is that
The Changeling permitted its original audiences to intuit
a connection between Spanish/Catholic interests, crimes
of violence, and sexuality out of control. Even at the
level of allusion to the Somerset scandal, if one extends
the analogy and imagines Somerset as De Flores, or
James I himself as Vermandero, discomfort sets in. While
early modern audiences expected only a loose fit between
fiction and recent history (and I have elsewhere argued
that Jacobean drama often employed inexact analogy for
the purposes of deniability), Bromham and Bruzzi strain
credibility when they turn The Changeling into a hostile
political allegory of Jacobean foreign and domestic policy.
And in so far as we must assess the claims of different
interpretive approaches, it is important to recognize that
in The Changeling, as is not the case in A Game at Chess, an
anti-Catholic agenda runs athwart an audience’s tendency
to identify emotionally with the most doomed and interest-
ing characters. Such an agenda is logically incompatible
with Marxist or feminist claims that the play supports its
rebels against convention, even if only temporarily and
before recontainment; but it is almost compatible with the
old-fashioned moralism by which Beatrice is condemned,
in Bawcutt’s terminology, as ‘selfish, proud, self-righteous
to the point of complacency, and in the later scenes hard
and unscrupulous’ (lv).
This interpretive impasse can be, if not resolved,
rendered less trivial if we imagine that Middleton and
Rowley deliberately created it. What makes The Changeling
work, both on the page and on the stage, is something less
schematic and more accessible to a mixed audience than
political allegory (though it can certainly have political
dimensions). That something is ethical undecidability, an
experience much attested to in the seventeenth century,
and almost endemic today. The reciprocal exchange of
meaning between the two plots, with its broad suggestion
that the madhouse is coextensive with the nation, is only
part of the story. Another is simply the quality of the
writing, the ‘frightful pleasure’ of the perfect blank verse
line in appalling circumstances:
I have within mine eye all my desires (2.2.8)
Methinks I feel her in mine arms already (2.2.149)
I could not get the ring without the finger (3.4.29)
This fellow has undone me endlessly (4.1.1)
More subliminal still is the unusual system of linguistic
bonding that Middleton and Rowley devised for this play,
the structure of keywords that stand for, and lock to-
gether, those major issues (then and now) that otherwise
might tend to separate out and dominate a reading or
production. Christopher Ricks wrote a brilliant essay on
1635
‘moral and poetic’ structure as deducible from the play’s
vocabulary; but his method can be extended to ques-
tion, once again, the explanatory power of an exclusively
moral thematics. Obviously ‘change’ (with nineteen oc-
currences) is a keyword in The Changeling, and ‘choice’,
‘judgement’ and ‘will’ (emphases noted, tellingly, by both
Bawcutt and Bromham/Bruzzi) belong to the realm of
ethical decision-making or its failure. But ‘service’, with
seventeen occurrences, also demands attention. It belongs
ambiguously to the territories of formalized Petrarchan
courtship, copulation, and class hierarchy. ‘Danger’ and
‘secrets’ and their cognates are unsurprising in a Jaco-
bean melodrama, but ‘blood’, with its double reference to
aristocratic birth and butchery, is here used with absolute
clarity to signify analytical confusion. ‘Push, you forget
yourself!’ says De Flores to Beatrice-Joanna when she
reacts with horror to his proposition, ‘A woman dipped in
blood, and talk of modesty?’ (3.4.128–9). Bleeding from
the fatal stab De Flores has given her, she cries to her
father at the end, ‘I am that of your blood was taken from
you \ For your better health’ (5.3.150–1), alluding to the
end of the dynasty as well as to the medical practice of
blood-letting.
Ricks noted these significances in ‘blood’ and ‘service’,
but not that ‘poison’ appears no less than thirteen times,
a strange verbal obsession in a play in which (unlike
Women, Beware Women) no literal poison is used. The
word runs secretly through the veins of this text until we
can feel it burning; and though to some in 1622 it might
have suggested poor Sir Thomas Overbury poisoned in
the Tower, Alsemero glosses it as phobia. Thus in a world
of flawed personalities, wine, oil and the scent of roses
may all be poisonous to someone, and Beatrice does well
to ask, ‘And what may be your poison, Sir?’ (1.1.127).
As for ‘pleasure’, poison’s opposite, we have already seen
it rendered sublime and oxymoronic in Alibius’s ‘frightful
pleasure’; but a careful reader can discover that elsewhere
in the play it is always sexual, and especially a sign of De
Flores’s priorities. ‘The wealth of all Valencia shall not
buy,’ he says, forcing Beatrice-Joanna to recognize the
colour of the coin in which she must pay for murder, ‘My
pleasure from me’ (3.4.163–4). ‘Yes,’ he cries defiantly in
the last scene, ‘and her honour’s prize \ Was my reward.
I thank life for nothing \ But that pleasure’ (5.3.167–9).
So much for the primacy of the economic.
In the live theatre, of course, we cannot count words
to discover subliminal thematics, and such balancing acts
as I have just performed between The Changeling’s preoc-
cupations are usually impossible for a director. But in one
respect the performance history of The Changeling actually
intensifies the dilemma of the scholarly interpreter, at least
when a historicizing criticism is at issue. For if we are
correct in inferring from the text an ‘oppositional’ agenda
in the earliest seventeenth-century productions, how long
could it have lasted? What could the play have meant to
a Restoration audience? In 1659 John Rhodes, a former
actor who sensed another change of the political winds,
assembled a new Duke of York’s Company which included
 the changeling
The Changeling in its repertoire. We do not know to what
qualities Samuel Pepys referred when he recorded seeing
it at the Whitefriars on 23 February 1661, with Thomas
Betterton playing De Flores, and reported that ‘it takes
exceedingly’. Joost Daalder records a court performance on
30 November 1668; but this could scarcely have carried
the same message as the one before Charles II’s father
forty-six years earlier.
The 1668 performance was the last recorded before the
revivals of the twentieth century, where the universit-
ies were considerably ahead of the professional theatre.
The first modern production recorded by Marilyn Roberts
was a Yale University student performance in May 1924,
when most of the hospital plot was cut. But this strategy
seems to have been more typical of university, radio or
television productions than for the professional theatre.
For instance, the first professional stage performance, in
1961, was directed by Tony Richardson for the Eng-
lish Stage Company at the Royal Court. Richardson set
the play in the period of Goya’s Spain, and spent con-
siderable effort in making the hospital plot integral. In
1970, Peter Stein’s production at the Schauspielhaus in
Zurich made it symbolic of a bleak modernity illuminated
by blue neon, and illustrating, so Dieter Sturm wrote
for the programme, our vacillation between ‘Herrschaft
and Sexualität, . . . sozialer Ordnung und psychischer Un-
terdrückung’. Although one reviewer of the 1977 pro-
duction by the Wiesbaden Theatre reminded his readers
of English Hispanophobia in the 1620s, stage revivals
unsurprisingly tend to favour the broader categories of
psycho-social analysis over historical reconstruction. In
Peter Gill’s 1978 production at the Riverside Studios,
Hammersmith, the audience seating was raised on scaf-
folding, creating an underground world in which the
lunatics were allowed to roam like wild animals; while
Terry Hands’s production of the same year focused primar-
ily on the sexuality of Beatrice-Joanna, emphasized the
multiple sexual puns in the text, and created a stylized
moral colour scheme of red and black, which is not so
1636
different, finally, from the black and white of an earlier
ethical tradition.
But in Richard Eyre’s notorious production for the
Lyttleton Theatre in June 1988, the distinction between
stage and study seems to have been deliberately, if con-
fusingly, abrogated. The impact of new academic styles of
criticism—Marxist, feminist and ethnic (and their compet-
ition)—was rendered explicit. The programme featured a
portrait of Miranda Richardson as Beatrice-Joanna, with
primitive symmetrical gashes on both cheeks, an effect
repeated for De Flores. The Eyre programme also became
a work of cross-cultural (and often self-contradictory) the-
ory, featuring mini-essays on class and race, enforced
dynastic marriage, the early modern madhouse, and the
rise of capitalism. Eyre himself was quoted as saying: ‘I
have tried to make this [Jacobean] interdependence of
rank and money visibly apparent, by transposing the play
to a Spanish slave colony of the nineteenth century’. By
way of Ronald Harwood’s All the World’s a Stage, read-
ers were invited to locate the play specifically in early
seventeenth-century England, and to imagine it imagining
‘the internecine rage of the Civil War to come’. But this
prophetic turn was itself compared to the nightmares of
psychiatric patients in the 1920s and 1930s which Jung
diagnosed as previews of Fascist horrors. We come full
circle, then, to the world of The Night Porter.
Despite its confusions, one sentence in this medley will
serve us well. ‘Sometimes a nation’, wrote Harwood, ‘will
choose the theatre to do its collective dreaming.’ Provided
we see them as sharing with us the diagnosis as well as the
symptoms, it would be hard to write a better sentence in
which to condense Middleton and Rowley’s achievement,
and to explain why The Changeling seems so disturbingly
familiar today.
see also
Textual introduction and apparatus: Companion, 1094
Authorship and date: Companion, 422
Other Middleton–Rowley works: Weapons, 980; Quarrel, 1209;
Old Law, 1331; Tennis, 1405; Gypsy, 1723
 W I L L I A M R O W L E Y and T H O M A S M I D D L E T O N
[ for Lady Elizabeth’s Men at The Phoenix]
beatrice-Joanna, Daughter to Vermandero
de flores, Servant to Vermandero
alsemero, A Nobleman, afterwards married to Beatrice
jasperino, His friend
diaphanta, Beatrice’s Waiting-woman
vermandero, A Noble captain, father to Beatrice
tomazo de Piracquo, A Noble lord
alonzo de Piracquo, His brother, suitor to Beatrice
isabella, Wife to Alibius
1.1 Incipit Actus Primus
Enter Alsemero
alsemero
’Twas in the temple where I first beheld her,
And now again the same; what omen yet
Follows of that? None but imaginary.
Why should my hopes of fate be timorous?
5 The place is holy, so is my intent:
I love her beauties to the holy purpose,
And that, methinks, admits comparison
With man’s first creation, the place blest,
And is his right home back, if he achieve it.
10 The church hath first begun our interview
Title Although Antonio is identified as ‘the’
changeling in the dramatis personae of
the 1653 quarto, this may well have
been a later interpolation. The word
‘changeling’ had numerous meanings,
many of them applicable here: (a) a
retarded (here ‘foolish’) or ugly child left
in place of another child by fairies; (b) a
fickle, inconstant person (compare Tilley
C234), often with implications of sexual
infidelity; (c) any person substituted for
another. During the late 1610s and early
1620s ‘changeling’ began to be applied
with increasing frequency to those who
had changed and otherwise altered
gender roles. Patrick Hannay’s 1618/19
Happy Husband, for example, complains
The Changeling
THE PERSONS OF THE PLAY
alibius, A jealous doctor
lollio, His man
antonio, A Gallant, and counterfeit fool
franciscus, A Gallant, and counterfeit madman
pedro, Friend to Antonio
madmen
servants
Gentlemen
Gentlewomen
Gallants
And that’s the place must join us into one;
So there’s beginning and perfection too.
Enter Jasperino
jasperino
O sir, are you here? Come, the wind’s fair with you,
You’re like to have a swift and pleasant passage.
alsemero
Sure you’re deceivèd, friend; ’tis contrary 15
In my best judgement.
jasperino What, for Malta?
If you could buy a gale amongst the witches,
They could not serve you such a lucky pennyworth
As comes o’ God’s name.
of a man ‘so womaniz’d turn’d Dame, ‘right home back’); and, because they
\ As place ’mongst Ovids changlings will be married there, the church is the
he might claime’; and in The Spanish fitting place first to have seen each other.
Gypsy (1623), Pretiosa vows to ‘play the 10 interview literally: mutual view, sight of
changeling’, altering her shape, posture, each other
and voice a thousand ways as she cross 14 like likely
dresses (as a man) (2.1.106 ff). 15 contrary against him (a wind which
1.1.6 the holy purpose marriage blows away from Alicante (and Beatrice)
8–12 the place . . . perfection too Alsem- is ‘contrary’ to his wishes)
ero persuades himself that his love of 17 buy . . . witches In Renaissance folklore,
Beatrice-Joanna is as holy as the place witches were believed to have power
where it began (‘the temple’); that it is over the weather, especially that which
directed (‘my intent’) toward marriage could affect ships at sea.
(‘the holy purpose’), a state comparable 18 lucky pennyworth bargain
to that of Adam and Eve before the Fall 19 o’ God’s name without charge—the
(‘man’s first creation’, where the Garden grace of God not for sale.
of Eden—‘the place blessed’—is man’s
1637
 Act 1 Scene 1 The Changeling.

alsemero Even now I observed alsemero

20 The temple’s vane to turn full in my face, No, not today.
I know ’tis against me. jasperino ’Tis the critical day,
jasperino Against you? It seems, and the sign in Aquarius.
Then you know not where you are. second servant [aside] We must not to sea today? This 50
alsemero Not well indeed. smoke will bring forth fire.
jasperino alsemero
Are you not well, sir? Keep all on shore; I do not know the end,
alsemero Yes, Jasperino; Which needs I must do, of an affair in hand
Unless there be some hidden malady Ere I can go to sea.
Within me, that I understand not. first servant Well, your pleasure. 55
25 jasperino And that second servant [aside] Let him e’en take his leisure, too;
I begin to doubt, sir: I never knew we are safer on land. Exeunt Servants
Your inclinations to travels at a pause Enter Beatrice-Joanna, Diaphanta, and Servants.
With any cause to hinder it till now. [Alsemero greets Beatrice and kisses her]
Ashore you were wont to call your servants up, jasperino [aside] How now! The laws of the Medes are
30 And help to trap your horses for the speed; changed, sure. Salute a woman? He kisses too: won-
At sea I have seen you weigh the anchor with ’em, derful! Where learnt he this? And does it perfectly too; 60
Hoist sails for fear to lose the foremost breath, in my conscience he ne’er rehearsed it before. Nay, go
on; this will be stranger and better news at Valencia
Be in continual prayers for fair winds,
than if he had ransomed half Greece from the Turk.
And have you changed your orisons?
beatrice
alsemero No, friend;
You are a scholar, sir.
35 I keep the same church, same devotion.
alsemero A weak one, lady.
jasperino beatrice
Lover I’m sure you’re none; the stoic Which of the sciences is this love you speak of? 65
Was found in you long ago—your mother alsemero
Nor best friends, who have set snares of beauty From your tongue I take it to be music.
(Ay, and choice ones too), could never trap you that beatrice
way. You are skilful in’t, can sing at first sight.
What might be the cause? alsemero
40 alsemero Lord, how violent And I have showed you all my skill at once.
Thou art! I was but meditating of I want more words to express me further,
Somewhat I heard within the temple. And must be forced to repetition: 70
jasperino Is this violence? I love you dearly.
’Tis but idleness compared with your haste yesterday. beatrice Be better advised, sir:
alsemero Our eyes are sentinels unto our judgements,
I’m all this while a-going, man. And should give certain judgement what they see;
Enter Servants But they are rash sometimes, and tell us wonders
jasperino Backwards, Of common things, which when our judgements find, 75
45 I think, sir.—Look, your servants. They can then check the eyes, and call them blind.
first servant The seamen call; shall we board your alsemero
trunks? But I am further, lady; yesterday

30 trap harness, put trappings on
for the speed to speed up the process
31 ’em the servants
34 orisons prayers
36 the stoic The stoic philosophers were
believed to have shunned emotion
and sentiment in favour of rational,
dispassionate existence.
42 Somewhat something
48 critical (astrologically) crucial
49 Aquarius in the zodiac, the water sign—
propitious for sailing
50–1 This smoke . . . fire proverbial: ‘No
smoke without some fire’ (Tilley, Dent
S569). The Second Servant hints at some
hidden meaning behind the order not to
board ship.
57.1 Beatrice-Joanna Etymologically,
‘Beatrice’ means ‘one who blesses/makes
happy’, and ‘Joanna’ means ‘the Lord’s
grace’. But a strong pejorative sense also
obtained in each case: Beatrice was a
common nickname for a brazen woman,
and Joanna for a common one.
Diaphanta (from the Greek),
‘transparent’, ‘light-revealing’, ‘glowing
(red-hot)’.
58 laws of the Medes proverbially constant;
compare Daniel 6:8: ‘the law of the
Medes & Persians, which altereth not’.
59 Salute greet, address
61 in my conscience truly, to my knowledge
62 Valencia capital of the province of
Valencia, on the east coast of Spain.
63 than if . . . Turk (Greece was at this time
controlled by Turkey)
67 sing at first sight sight-read (both love
and music)—i.e. You waste no time.
With understated bawdy.
69 want lack
75 Of concerning
76 check rebuke, censure
77 I . . . further I’m past that stage

1638
 The Changeling. Act 1 Scene 1

Was mine eyes’ employment, and hither now Of her at all opportunities,
They brought my judgement, where are both agreed. If but to spite her anger. I know she had 105
80 Both Houses then consenting, ’tis agreed, Rather see me dead than living, and yet
Only there wants the confirmation She knows no cause for’t but a peevish will.
By the hand royal—that’s your part, lady. alsemero
beatrice O, there’s one above me, sir. You seemed displeased, lady, on the sudden.
[Aside] For five days past to be recalled! beatrice
Sure mine eyes were mistaken: this was the man was Your pardon, sir, ’tis my infirmity,
85 meant me. Nor can I other reason render you, 110
That he should come so near his time, and miss it! Than his or hers, of some particular thing
jasperino [aside] We might have come by the carriers from They must abandon as a deadly poison,
Valencia, I see, and saved all our sea-provision; we are Which to a thousand other tastes were wholesome;
at farthest, sure. Methinks I should do something too; I Such to mine eyes is that same fellow there,
90 meant to be a venturer in this voyage. Yonder’s another The same that report speaks of the basilisk. 115
vessel; I’ll board her: if she be lawful prize, down goes alsemero
her topsail. This is a frequent frailty in our nature;
[He crosses to and greets Diaphanta] There’s scarce a man amongst a thousand found
Enter De Flores But hath his imperfection: one distastes
de flores The scent of roses, which to infinites
Lady, your father— Most pleasing is, and odoriferous; 120
beatrice Is in health, I hope. One oil, the enemy of poison;
de flores Another wine, the cheerer of the heart,
Your eye shall instantly instruct you, lady: And lively refresher of the countenance.
He’s coming hitherward. Indeed this fault, if so it be, is general:
95 beatrice What needed, then, There’s scarce a thing but is both loved and loathed. 125
Your duteous preface? I had rather Myself, I must confess, have the same frailty.
He had come unexpected; you must stall beatrice
A good presence with unnecessary blabbing: And what may be your poison, sir? I am bold with
And how welcome for your part you are, you.
I’m sure you know. alsemero
100 de flores [aside] Will’t never mend, this scorn, What might be your desire, perhaps—a cherry.
One side nor other? Must I be enjoined beatrice
To follow still whilst she flies from me? Well, I am no enemy to any creature
Fates do your worst, I’ll please myself with sight My memory has but yon gentleman. 130

80–2 Both Houses . . . hand royal political
metaphor drawing on the two ‘Houses’
of parliament (‘eyes’, ‘judgement’),
which could propose a measure to which
the monarch (‘hand royal’) might assent;
Alsemero implies he wants her hand in
marriage.
83 one above me i.e. her father
84 five days past apparently the length of
time since her betrothal, upon which she
now wishes to recant
87 by the carriers i.e. by land (thus slowly)
instead of by sea
89 at farthest at the end (i.e. of one’s
journey, abilities, or wits). Perhaps here:
‘we are surely out of our minds’.
90 a venturer a partner in the commercial
‘venture’ of the voyage (here metaphor-
ical: ‘venture’ = love, wooing)
91 vessel ship (= Diaphanta), continuing
the nautical metaphor.
board come alongside (i.e. accost)
lawful prize Sea adventurers were
supposed to obey certain laws in tak-
ing plunder; the metaphor is one of
‘boarding’ Diaphanta, which may depend
on her marital status.
92 topsail A lowered sail signalled sur-
render; here of the woman to her ac-
coster.
92.2 De Flores both ‘of the flowers’ and
‘the deflowerer’
95 What needed, then what need was there,
then, for
97 unexpected i.e. unannounced
stall (a) ‘to bring to a standstill, render
unable to proceed’ (OED v. III. 11a)
(b) ‘to take away (a person’s) appetite’
(OED v. III. 12a) (c) = install, with play
on political sense of ‘presence’ (l. 98), ‘to
place in a high office or dignity’ (OED v.
II. 7a)
98 A good presence more desirable company
(i.e. of Vermandero)
blabbing babbling
101 One side nor other one way or another
(see ‘side’ OED sb.1 III.2)
enjoined ordered (by the ‘fates’ of l. 103)
102 still always
110–11 reason . . . Than his or hers, of than
any other person’s (i.e. idiosyncratic)
reasons concerning
111–13 some . . . wholesome compare the
proverb: ‘One man’s meat is another
man’s poison’ (Tilley M483)
112 abandon reject
113 were would be
114 that same fellow i.e. De Flores; here
‘fellow’ = a man of low worth
115 report legend, myth
basilisk a mythological serpent which
could kill by its look
118 distastes dislikes
119 infinites an infinite number of people
121 One i.e. one man
122 cheerer of the heart proverbial
123 countenance demeanour toward others
as expressing good or ill will (OED sb. 7)
127–8 poison . . . a cherry probably a kiss
of her cherry-like lips, hence instrument
of her ‘desire’—where ‘poison’ = her
influence in love, greatly exaggerated for
effect. But perhaps with bawdy as well.
130 yon gentleman i.e. De Flores

1639
 Act 1 Scene 1 The Changeling.

alsemero If ye please to grant it.

He does ill to tempt your sight, if he knew it. vermandero With all my heart, sir.
beatrice Yet there’s an article between: I must know 165
He cannot be ignorant of that, sir: Your country; we use not to give survèy
I have not spared to tell him so; and I want Of our chief strengths to strangers. Our citadels
To help myself, since he’s a gentleman Are placed conspicuous to outward view
135 In good respect with my father, and follows him. On promonts’ tops; but within are secrets.
alsemero He’s out of his place then now. [They talk apart] alsemero
jasperino [to Diaphanta] I am a mad wag, wench. A Vàlencìan, sir.
diaphanta So methinks; but for your comfort I can tell vermandero A Vàlencìan? 170
you, we have a doctor in the city that undertakes the That’s native, sir; of what name, I beseech you?
140 cure of such. alsemero
jasperino Tush, I know what physic is best for the state Alsemero, sir.
of mine own body. vermandero Alsemero? Not the son
diaphanta ’Tis scarce a well-governed state, I believe. Of John de Alsemero?
jasperino I could show thee such a thing with an ingredi- alsemero The same, sir.
145 ent that we two would compound together, and if it did vermandero
not tame the maddest blood i’th’ town for two hours My best love bids you welcome.
after, I’ll ne’er profess physic again. beatrice [aside] He was wont
diaphanta A little poppy, sir, were good to cause you To call me so, and then he speaks a most 175
sleep. Unfeignèd truth.
150 jasperino Poppy? I’ll give thee a pop i’th’ lips for that vermandero O sir, I knew your father:
first, and begin there. [He kisses her] Poppy is one We two were in acquaintance long ago,
simple indeed, and cuckoo what-you-call’t another. I’ll Before our chins were worth Iülan down,
discover no more now; another time I’ll show thee all. And so continued till the stamp of time
They talk apart Had coined us into silver. Well, he’s gone; 180
Enter Vermandero and Servants A good soldier went with him.
155 beatrice My father, sir. alsemero You went together in that, sir.
vermandero O Joanna, I came to meet thee. vermandero No, by Saint Jaques, I came behind him.
Your devotion’s ended? Yet I have done somewhat too. An unhappy day
beatrice For this time, sir. Swallowèd him at last at Gìbraltar, 185
[Aside] I shall change my saint, I fear me; I find In fight with those rebellious Hollanders.
A giddy turning in me.—Sir, this while Was it not so?
160 I am beholden to this gentleman, alsemero Whose death I had revenged,
Who left his own way to keep me company, Or followed him in fate, had not the late league
And in discourse I find him much desirous Prevented me.
To see your castle: he hath deserved it, sir, vermandero Ay, ay, ’twas time to breathe.

131 tempt test
133–4 want \ To help myself lack means to
correct this (by banishing him)
135 respect repute
follows serves
136 He’s . . . now therefore he’s in the wrong
place (Vermandero being absent)
139 doctor i.e. Alibius (presented in the
following scene)
141 Tush a Rowleyan interjection
physic medicine
state Diaphanta plays on the metaphor
of state as ‘body politic’.
144–5 I could . . . together Under cover
of medicinal discourse, Jasperino hints
plainly at his need for sexual gratifica-
tion.
144 such a thing i.e. his penis
144–5 ingredient with bawdy play on the
etymological sense of ingredient as ‘a
thing which enters in or penetrates’
(OED sb. 2)
145 compound (a) mix (b) copulate.
Jasperino plays on the sexual symbolism
of the mortar and pestle
146 blood the seat of passion and desire
148 poppy a sleep-inducing, opiate plant
152 simple medicine or herb
cuckoo what-you-call’t probably the
plant called the ‘cuckoo-pintle’ (wild
arum) used medicinally. ‘Pintle’ was
slang or dialectal for ‘penis’—thus
Jasperino’s leading ‘what-you-call’t’.
153 discover reveal
158 saint here (and later) a pun on saint as
(a) religious figure and (b) lover; compare
5.3.53
165 article this metaphor turns on the
notion of a legal contract which has a
prior condition to be met.
166 use not are not accustomed
survèy observation
169 promonts’ promontories’
174–6 He was . . . truth i.e. because I am my
father’s ‘best love’ (174), he truthfully
says that his best love bids Alsemero
welcome
178 Iülan down referring to the Aeneid’s
youthful Iulus Ascanius, whose name
may have come from the Greek word for
‘first growth of the beard’ (= ‘down’)
180 coined us into silver made our hair
silvery grey
181 A good . . . him i.e. when he died, a
good soldier died.
182 went . . . that were as fine a soldier as he
183 Saint Jaques St James the Greater,
patron saint of Spain
185–6 Gìbraltar . . . Hollanders referring
to the 1607 siege of the fortress called
Gibraltar on the south coast of Spain
187 had would have
188 the late league The treaty of the Hague
in 1609 brought peace between Spain
and the Netherlands for twelve years.
189 breathe i.e. take a respite from fighting

1640

190 O Joanna, I should ha’ told thee news:
I saw Piracquo lately.
beatrice [aside] That’s ill news.
vermandero
He’s hot preparing for this day of triumph;
Thou must be a bride within this sevennight.
alsemero [aside] Ha!
beatrice
195 Nay, good sir, be not so violent. With speed
I cannot render satisfactïon
Unto the dear companion of my soul,
Virginity, whom I thus long have lived with,
And part with it so rude and suddenly;
200 Can such friends divide, never to meet again,
Without a solemn farewell?
vermandero Tush, tush, there’s a toy.
alsemero [aside]
I must now part, and never meet again
With any joy on earth.—Sir, your pardon,
My affairs call on me.
vermandero How, sir? By no means.
205 Not changed so soon, I hope? You must see my castle
And her best entertainment ere we part;
I shall think myself unkindly used else.
Come, come, let’s on: I had good hope your stay
Had been a while with us in Alicante;
210 I might have bid you to my daughter’s wedding.
alsemero [aside]
He means to feast me, and poisons me beforehand.—
I should be dearly glad to be there, sir,
Did my occasions suit as I could wish.
beatrice
I shall be sorry if you be not there
215 When it is done, sir—but not so suddenly.
vermandero
I tell you, sir, the gentleman’s complete:
A courtier and a gallant, enriched
With many fair and noble ornaments;
191 I saw . . . ill news invoking the proverb
‘Ill news comes too soon’ (Tilley N14)
192 hot excitedly
193 sevennight week (probably pronounced
‘sénnight’)
201 toy trifle
209 Alicante a seaport of Valencia on the
eastern coast of Spain, where the play’s
action is laid
210 I might have I would, then, have been
able to
211 poisons here figuratively, but with
(unconsciously) ominous overtones
215 When it . . . so suddenly Beatrice has a
double meaning; for Alsemero she hints
that she hopes the wedding is postponed
long enough so that he is the groom.
Holdsworth suggests ‘When it is done’
carries a sexual connotation.
The Changeling. Act 1 Scene 1
I would not change him for a son-in-law
For any he in Spain—the proudest he, 220
And we have great ones, that you know.
alsemero He’s much
Bound to you, sir.
vermandero He shall be bound to me,
As fast as this tie can hold him; I’ll want
My will else.
beatrice [aside]
I shall want mine if you do it.
vermandero
But come; by the way I’ll tell you more of him. 225
alsemero [aside]
How shall I dare to venture in his castle
When he discharges murderers at the gate?
But I must on, for back I cannot go.
beatrice [aside, seeing De Flores]
Not this serpent gone yet? [She drops glove]
vermandero Look, girl: thy glove’s fall’n;
Stay, stay.—De Flores, help a little.
[Exeunt Vermandero, Alsemero,
Jasperino and Servants]
de flores [retrieving glove] Here, lady. 230
beatrice
Mischief on your officious forwardness!
Who bade you stoop? They touch my hand no more:
[She throws down the other glove]
There, for t’other’s sake I part with this.
Take ’em and draw thine own skin off with ’em.
Exeunt [all but De Flores]
de flores Here’s a favour come with a mischief! 235
Now I know she had rather wear my pelt tanned
In a pair of dancing pumps than I should thrust
My fingers into her sockets here.
[He thrusts his hand into the glove]
I know
She hates me, yet cannot choose but love her.
216 complete perfect, accomplished. 227 murderers literally, small canon
‘Complete gentleman’ was a popular mounted at the entries to fortifications;
phrase: compare Henry Peacham’s 1622 here used figuratively
The Complete Gentleman. 233 t’other’s the other’s
218 ornaments qualities 234 Take . . . ’em i.e. If you put my gloves
220 he i.e. man on your hands, may they stick to your
221 that you know you know that to be skin and thus strip you raw. (Perhaps
true following from ‘serpent’ (229), which
221–2 He’s . . . sir i.e. He would thank would shed its skin.)
you, if he were here, for that handsome 235 favour generally, any good thing; more
compliment. But Vermandero answers specifically: a love token, often worn
with wordplay on ‘bound’ in the sense of on the body of the beloved. Here the
‘attached through matrimony’. glove, perhaps dropped for Alsemero—
223 this tie i.e. Beatrice De Flores’s presence has prevented them
223–4 I’ll . . . else Otherwise (‘else’) my from talking.
wishes will be unfulfilled. with a mischief with a vengeance
224 want Beatrice may play on ‘want’ in 238 sockets the finger sockets of the glove,
the double sense of ‘lack’ and ‘desire’. but with connotation of her sexual body.
1641
 Act 1 Scene 1 The Changeling.

240 No matter: if but to vex her, I’ll haunt her still;
Though I get nothing else, I’ll have my will.
1.2 Enter Alibius and Lollio
alibius
Lollio, I must trust thee with a secret,
But thou must keep it.
lollio I was ever close to a secret, sir.
alibius
The diligence that I have found in thee,
5 The care and industry already past,
Assures me of thy good continuance.
Lollio, I have a wife.
lollio Fie, sir, ’tis too late to keep her secret: she’s known
to be married all the town and country over.
alibius
10 Thou goest too fast, my Lollio. That knowledge,
I allow, no man can be barred it;
But there is a knowledge which is nearer,
Deeper and sweeter, Lollio.
lollio Well, sir, let us handle that between you and I.
alibius
15 ’Tis that I go about, man; Lollio,
My wife is young.
lollio So much the worse to be kept secret, sir.
alibius
Why, now thou meet’st the substance of the point;
I am old, Lollio.
20 lollio No sir, ’tis I am old Lollio.
alibius
Yet why may not this concòrd and sympathise?
Old trees and young plants often grow together,
Well enough agreeing.
Exit lollio Ay, sir. [He makes horns] But the old trees raise
themselves higher and broader than the young plants. 25
alibius Shrewd application! There’s the fear, man;
I would wear my ring on my own finger:
Whilst it is borrowed it is none of mine,
But his that useth it.
lollio You must keep it on still, then; if it but lie by, one 30
or other will be thrusting into’t.
alibius
Thou conceiv’st me, Lollio; here thy watchful eye
Must have employment: I cannot always be at home.
lollio I dare swear you cannot.
alibius I must look out. 35
lollio I know’t: you must look out, ’tis every man’s case.
alibius
Here, I do say, must thy employment be:
To watch her treadings, and in my absence
Supply my place.
lollio I’ll do my best, sir; yet surely I cannot see who 40
you should have cause to be jealous of.
alibius Thy reason for that Lollio?
’Tis a comfortable question.
lollio We have but two sorts of people in the house, and
both under the whip: that’s fools and madmen. The 45
one has not wit enough to be knaves, and the other
not knavery enough to be fools.
alibius
Ay, those are all my patients, Lollio.
I do profess the cure of either sort;
My trade, my living ’tis, I thrive by it. 50
But here’s the care that mixes with my thrift:

241 will Throughout, this word has the
connotations of volition, wilfulness, and
sexual desire.
1.2.0.1 Alibius Latin: ‘being in another
place, elsewhere’. Probably a topical
satire of Dr Hilkiah Crooke, appointed
keeper of Bedlam in 1619. He was
notoriously absent from his duties
there, and was investigated as early
as 1625; both he and his steward
were put on trial in 1632 for fraud
and misappropriation of funds. Like
Lollio, his steward apparently took
bribes and otherwise cheated his charges
monetarily.
Lollio see previous note
3 close to a secret literally, good at keeping
a secret; but with a hint (which Alibius
misses) at the sexual sense of ‘secret’ as
in ‘secret parts’ (compare l. 8 below)
6 good continuance continual trustworthi-
ness
8 to keep her secret literally, ‘to hide
knowledge of her’, but Lollio may pun
bawdily. The punning on ‘knowledge’ as
sexual knowledge continues in ll. 10–12.
12 knowledge i.e. ‘carnal’ or sexual know-
ledge, intercourse
13 Deeper and sweeter proverbial (Dent
D188), with sexual suggestion here
14 handle with a sexual connotation
17 the worse i.e. more difficult
20 I am old Lollio With the choplogic
banter of servants, Lollio deliberately
misunderstands Alibius’s address to him
in l. 19.
21 this i.e. our (Isabella’s and Alibius’s)
disparate ages. He has ignored or not
heard Lollio’s response.
26 application Alibius finds his metaphor
well applied to the situation by Lollio;
here Alibius’s age makes it more likely
that his wife will give him cuckold’s
horns, thus making him ‘higher and
broader’ than her.
27–9 I would wear . . . useth it While
rings were a token of the trothplight in
marriage that legitimates sex, the ‘finger
in the ring’ metaphor was a common
way of configuring sexual intercourse
itself.
30 lie by (a) lie aside somewhere (b) facil-
itate an untruth (here, adultery). This
pun is prominent in Middleton’s practice;
compare 4.1.15, 5.1.1.
32 conceiv’st understand (but the word has
a sexual resonance in the context of this
discussion)
33 employment . . . at home words often used
with sexual suggestion (and compare
‘employment’ in l. 37 below)
35 look out go out and about (Lollio,
though, plays on the sense of ‘look[ing]
out’ for cuckoldry—‘every man’s case’)
36 case This word could signify the vagina.
38 treadings literally, footsteps—but with
overtones of ‘sexual motion’; the word
‘tread’ is often used of copulating birds
39 Supply my place replace me. Here as
elsewhere Alibius unwittingly invites
Lollio to understand a sexual sense.
43 comfortable comforting (in that an
answer is likely to placate or flatter)
45 fools and madmen separate categories:
fools were born ‘foolish’, madmen those
who had lost their wits.
48 are all the extent so far as ‘sorts’ go
49 profess have as my occupation, profes-
sion
either sort both sorts
51 my thrift my living, earnings, prosper-
ity—that which Alibius ‘thrive[s] by’
(50).

1642
 The Changeling. Act 1 Scene 2

The daily visitants that come to see
My brainsick patients I would not have
To see my wife. Gallants I do observe
55 Of quick enticing eyes, rich in habits,
Of stature and proportion very comely:
These are most shrewd temptations, Lollio.
lollio They may be easily answered, sir. If they come to
see the fools and madmen, you and I may serve the
60 turn, and let my mistress alone: she’s of neither sort.
alibius
’Tis a good ward. Indeed, come they to see
Our madmen or our fools, let ’em see no more
Than what they come for. By that consequent
They must not see her; I’m sure she’s no fool.
65 lollio And I’m sure she’s no madman.
alibius
Hold that buckler fast, Lollio; my trust
Is on thee, and I account it firm and strong.
What hour is’t, Lollio?
lollio Towards belly-hour, sir.
70 alibius Dinner-time? Thou mean’st twelve o’clock.
lollio Yes, sir, for every part has his hour: we wake at six
and look about us, that’s eye-hour; at seven we should
pray, that’s knee-hour; at eight walk, that’s leg-hour;
at nine gather flowers and pluck a rose, that’s nose-
75 hour; at ten we drink, that’s mouth-hour; at eleven lay
about us for victuals, that’s hand-hour; at twelve go to
dinner, that’s belly-hour.
alibius
Profoundly, Lollio. It will be long
Ere all thy scholars learn this lesson, and
80 I did look to have a new one entered.—Stay,
I think my expectation is come home.
Enter Pedro, and Antonio like an idiot
pedro
Save you, sir. My business speaks itself:
This sight takes off the labour of my tongue.
alibius Ay, ay, sir,
’Tis plain enough you mean him for my patient. 85
pedro
And if your pains prove but commodious,
To give but some little strength to the sick
And weak part of nature in him, these are
But patterns to show you of the whole pieces
That will follow to you, beside the charge 90
Of diet, washing, and other necessaries
Fully defrayed. [He gives money]
alibius
Believe it, sir, there shall no care be wanting.
lollio Sir, an officer in this place may deserve something;
the trouble will pass through my hands. 95
pedro
’Tis fit something should come to your hands then,
sir. [He gives money]
lollio Yes, sir: ’tis I must keep him sweet, and read to
him. What is his name?
pedro His name is Antonio. Marry,
We use but half to him: only Tony. 100
lollio Tony? Tony? ’Tis enough, and a very good name
for a fool. [To Antonio] What’s your name, Tony?
antonio Hee, hee, hee! Well, I thank you cousin; hee,
hee, hee!
lollio Good boy! Hold up your head!—[To Pedro] He can 105
laugh; I perceive by that he is no beast.
pedro Well, sir,
If you can raise him but to any height,
Any degree of wit, might he attain
(As I might say) to creep but on all four 110
Towards the chair of wit, or walk on crutches,
’Twould add an honour to your worthy pains,
And a great family might pray for you,
To which he should be heir, had he discretion
To claim and guide his own; assure you, sir, 115
He is a gentleman.

52 visitants At Bethlehem (‘Bedlam’)
hospital outside London (see 1.2.209–
10, 3.3.24 and notes) people of leisure—
including the ‘gallants’ that Alibius
especially fears (l. 54)—often came
to divert themselves by viewing the
residents.
55 habits dress, apparel
57 shrewd (a) wicked (as it pertains to
Isabella, morally; OED a. 1a) (b) mis-
chievous, irksome (in so far as the pos-
sibility of Isabella succumbing to such
temptation troubles Alibius; OED a. 6a).
That he follows his references to business
and prosperity (ll. 49–51) with a mor-
alistic cliché like ‘shrewd temptations’
(see OED a. 6b) suggests his affinity with
contemporary puritanism.
59–60 serve the turn answer to the occa-
sion (with play on being ‘turn-keys’, or
jailors); compare also the (unintended)
implication that he and Lollio might
stand in as fools and madmen
61 ward defensive guard or pose taken in
fencing
63 By that consequent as a result of that
66 buckler shield (used here metaphorically)
74 pluck a rose with suggestion of a
common meaning for this phrase, to
urinate
75–6 lay about search around
80 entered enrolled
81.1 Enter . . . Antonio like an idiot per-
haps illustrated in the frontispiece to
Francis Kirkman’s The Wits, or Sport
upon Sport (1662), where a figure la-
belled ‘Changling’ wears a long coat and
pointed dunce’s cap, and has a horn-
book hanging from his wrist. Antonio is
perhaps in the tradition of ‘wise fools’
associated with St Anthony.
82 Save you, sir i.e. ‘God save you’, a form
of salutation
83 This sight i.e. of Antonio
86 commodious useful, beneficial
89 patterns samples
90 charge expense. It was customary to
pay the expenses of private inmates at
Bedlam.
97 sweet clean
101–2 good name for a fool ‘good’ because
‘tony’ seems by this time to have meant
both (a) a foolish person, ninny, or
madman (OED sb.1 ), and (b) (as verb) to
make a fool of, to fool, cheat, or swindle
(OED v.). Rowley himself may have
played a fool named ‘Tony’ in Fletcher’s
Wife for a Month in 1624.
103 Antonio answers as though Lollio had
asked ‘How are you?’
106 no beast Since Aristotle, it had been
thought that the ability to laugh separ-
ated humanity from the beasts.
116 gentleman More specific than today,
‘gentleman’ implied a high social status,
a man of good family, rank, or breeding,
also a land owner.

1643
 Act 1 Scene 2 The Changeling.

lollio Nay, there’s nobody doubted that; at first sight I
knew him for a gentleman: he looks no other yet.
pedro
Let him have good attendance and sweet lodging.
120 lollio As good as my mistress lies in, sir; and as you
allow us time and means, we can raise him to the
higher degree of discretion.
pedro
Nay, there shall no cost want, sir.
lollio He will hardly be stretched up to the wit of a
125 magnifico.
pedro O, no, that’s not to be expected;
Far shorter will be enough.
lollio I’ll warrant you I’ll make him fit to bear office in
five weeks; I’ll undertake to wind him up to the wit of
130 constable.
pedro
If it be lower than that it might serve turn.
lollio No, fie! To level him with a headborough, beadle,
or watchman were but little better than he is: constable
I’ll able him. If he do come to be a justice afterwards,
135 let him thank the keeper. Or I’ll go further with you:
say I do bring him up to my own pitch, say I make him
as wise as myself?
pedro
Why, there I would have it.
lollio Well, go to: either I’ll be as arrant a fool as he, or
140 he shall be as wise as I, and then I think ’twill serve
his turn.
pedro Nay, I do like thy wit passing well.
lollio Yes, you may. Yet if I had not been a fool, I had
had more wit than I have too: remember what state
145 you find me in.
pedro I will, and so leave you:
[To Alibius] Your best cares, I beseech you.
alibius
Take you none with you; leave ’em all with us.
Exit Pedro
antonio O, my cousin’s gone! Cousin, cousin, O!
lollio Peace, peace, Tony! You must not cry, child; you 150
must be whipped if you do. Your cousin is here still: I
am your cousin, Tony.
antonio Hee, hee, then I’ll not cry, if thou beest my
cousin, hee, hee, hee!
lollio I were best try his wit a little, that I may know 155
what form to place him in.
alibius
Ay, do, Lollio, do.
lollio I must ask him easy questions at first. Tony, how
many true fingers has a tailor on his right hand?
antonio As many as on his left, cousin. 160
lollio Good; and how many on both?
antonio Two less than a deuce, cousin.
lollio Very well answered. I come to you again, cousin
Tony: how many fools goes to a wise man?
antonio Forty in a day sometimes, cousin. 165
lollio Forty in a day? How prove you that?
antonio All that fall out amongst themselves, and go to
a lawyer to be made friends.
lollio A parlous fool! He must sit in the fourth form at
least, I perceive that. I come again, Tony: how many 170
knaves make an honest man?
antonio I know not that, cousin.
lollio No, the question is too hard for you. I’ll tell
you cousin: there’s three knaves may make an honest
man—a sergeant, a jailer, and a beadle; the sergeant 175
catches him, the jailer holds him, and the beadle lashes
him; and if he be not honest then, the hangman must
cure him.
antonio Ha, ha, ha, that’s fine sport, cousin!
alibius This was too deep a question for the fool, Lollio. 180
lollio Yes, this might have served yourself, though I say’t.
Once more and you shall go play, Tony.
antonio Ay, play at push-pin, cousin; ha, hee!
lollio So thou shalt. Say how many fools are here—
antonio Two, cousin: thou and I! 185
lollio Nay, you’re too forward there, Tony. Mark my
question: how many fools and knaves are here—A fool

118 he looks . . . yet (a) his madness hasn’t
affected his innately superior appearance
(b) he doesn’t look as foolish as he
evidently wants to. (Lollio may see
through Antonio’s disguise quite early).
121 means i.e. money
121–2 raise . . . discretion (a) teach him
more discernment (OED 3) (b) make him
behave more discretely
123 there . . . want all your expense will be
reimbursed
125 magnifico generally, a person of high
standing in any social sphere.
131 serve turn suffice
132 headborough akin to a village-mayor;
the lowest parochial authority
beadle the lowest judicial authority (and
public whipper)
133 watchman the lowest civil authority
constable notoriously dim-witted and
incompetent
134 able him make him capable of
justice frequently portrayed as stupid
(compare 4.1.130, note).
136 pitch level, height (in a figurative sense)
143–4 Yet . . . too i.e. If I’d had enough sense
to turn down this job, I’d be smarter
today. (Implying that the company of
fools and madmen lowers his intelligence
or ‘wit’.)
144 what state i.e. my status as keeper of
fools and madmen (and, perhaps, my
financial condition).
149 cousin a term for a close relative. In ll.
151, Lollio may also hint at ‘couzen’, to
cheat (a common pun).
159 true fingers has a tailor Antonio’s
answer of zero (‘two less than a deuce’,
l. 162) depends on tailors’ proverbial
dishonesty. See Dent T16.01, T16.11.
right with play on ‘honest’
164 goes to Lollio means ‘constitute’;
Antonio takes it as ‘visit’ (as indicated
by his next speech in ll. 167–8).
167–8 All that . . . friends compare Tilley
L130
169 A parlous (a) (as adv.) thoroughly a,
excessively a (b) a cunning, shrewd
181 Yes . . . say’t (a) this would have
stumped even you (b) such a question
involves you, as it concerns knaves
183 push-pin a child’s game (here with
sexual innuendo: he would like to play
at ‘push-pin’ with Isabella)

1644
 The Changeling. Act 2 Scene 1

before a knave, a fool behind a knave, between every alibius

two fools a knave; how many fools, how many knaves? And remember my last charge, Lollio. Exit
190 antonio I never learnt so far, cousin. lollio [after Alibius] Of which your patients do you think I
alibius am? Come, Tony: you must amongst your schoolfellows 225
Thou putt’st too hard questions to him, Lollio. now. There’s pretty scholars amongst ’em, I can tell
lollio I’ll make him understand it easily. Cousin, stand you; there’s some of ’em at stultus, stulta, stultum.
there. antonio I would see the madmen, cousin, if they would
antonio Ay, cousin. not bite me.
195 lollio Master, stand you next the fool. lollio No, they shall not bite thee, Tony. 230
alibius [at Antonio’s side] Well, Lollio? antonio They bite when they are at dinner, do they not,
lollio [at Alibius’ side] Here’s my place. Mark now, Tony: coz?
there’s a fool before a knave. lollio They bite at dinner indeed, Tony. Well, I hope to
antonio That’s I, cousin. get credit by thee; I like thee the best of all the scholars
200 lollio Here’s a fool behind a knave—that’s I—and that ever I brought up, and thou shalt prove a wise 235
between us two fools there is a knave—that’s my man, or I’ll prove a fool myself. Exeunt
master. ’Tis but ‘we three’, that’s all. Finis Actus Primus
antonio We three, we three, cousin!
Madmen within 
first madman Put’s head i’th’ pillory; the bread’s too
205 little! Incipit Actus Secundus 2.1
second madman Fly, fly, and he catches the swallow! Enter Beatrice and Jasperino severally
third madman Give her more onion, or the devil put the beatrice
rope about her crag! O sir, I’m ready now for that fair service
lollio You may hear what time of day it is, the chimes Which makes the name of friend sit glorious on you.
210 of Bedlam goes. Good angels and this conduct be your guide.
alibius [to Madmen within] Peace, peace, or the wire [She gives him a paper]
comes! Fitness of time and place is there set down, sir.
third madman Cat-whore, cat-whore, her parmesant, her jasperino
parmesant! The joy I shall return rewards my service. Exit 5
215 alibius Peace, I say!— beatrice
Their hour’s come, they must be fed, Lollio. How wise is Alsemero in his friend!
lollio There’s no hope of recovery of that Welsh madman, It is a sign he makes his choice with judgement.
was undone by a mouse that spoiled him a parmesant; Then I appear in nothing more approved
lost his wits for’t. Than making choice of him,
alibius For ’tis a principle: he that can choose 10
220 Go you to your charge, Lollio; I’ll to mine. That bosom well, who of his thoughts partakes,
lollio Go you to your madmen’s ward; let me alone with Proves most discreet in every choice he makes.
your fools. Methinks I love now with the eyes of judgement,

202 ‘we three’ comic situation defined by
a sign saying ‘We Three’, with only
two fools’- or asses’-heads depicted: the
viewer’s was the third.
203.1 within i.e. behind the main stage
204–5 Put’s head . . . little a complaint about
the size of a loaf of bread.
206 Fly . . . swallow proverbial: ‘Fly and you
will catch the swallow’ (Tilley S1024).
207–8 onion . . . rope (a) the onion string
(‘rope’) (b) a hangman’s noose
208 crag neck
209–10 chimes of Bedlam bells of Bedlam,
here used figuratively to describe the
madmen’s cries. See 1.2.52, note.
211 wire whip. Whipping appears to have
been the discipline of choice at Bedlam;
compare ll. 45, 151–2 above.
213 Cat-whore . . . parmesant the cat is
called a ‘whore’ because she failed to
stop a mouse from stealing ‘parmesant’
cheese
her stage Welsh for ‘the’ or ‘my’
217–18 Welsh . . . parmesant the Welsh were
thought abnormally fond of cheese—thus
‘undone’ (driven mad) by a mouse who
stole (‘spoiled’) from him a portion of
‘parmesant’ (cheese)
223 last charge final instruction (to watch
Isabella)
224–5 Of which . . . I am? Do you think
I’m a fool or a madman? (Lollio seems
perturbed that Alibius should think he
would forget.)
227 stultus, stulta, stultum Latin for
‘foolish’ or ‘stupid’, here referring to the
declensions repeated from memory at
Renaissance grammar schools.
232 coz shortened form of the familiar
‘cousin’, sometimes used for any relative,
friend, or familiar; see note above at l.
151
234 get credit gain recognition (perhaps
money)
2.1.0.2 severally from different sides of the
stage (indicating a change of place; here
an arranged meeting)
3–5 Good angels . . . service Beatrice may
invoke the common pun on ‘angels’ as
coins, offering Alsemero’s friend money
for delivering the letter; Jasperino’s
reply indicates that the joy he will bring
Alsemero (with the letter) (and, perhaps,
to Beatrice, when he returns again) is
sufficient reward.
3 conduct note containing instructions
(i.e. time and place—for a clandestine
meeting with Alsemero)

1645
 Act 2 Scene 1 The Changeling.

And see the way to merit, clearly see it. I tumbled into th’ world a gentleman.
15 A true deserver like a diamond sparkles: She turns her blessèd eye upon me now, 50
In darkness you may see him that’s in absence And I’ll endure all storms before I part with’t.
(Which is the greatest darkness falls on love), beatrice [aside] Again!
Yet is he best discerned then This ominous ill-faced fellow more disturbs me
With intellectual eyesight. What’s Piracquo Than all my other passions.
20 My father spends his breath for? And his blessing de flores [aside] Now’t begins again;
Is only mine, as I regard his name, I’ll stand this storm of hail though the stones pelt me. 55
Else it goes from me, and turns head against me, beatrice
Transformed into a curse. Some speedy way Thy business? What’s thy business?
Must be remembered. He’s so forward too, de flores [aside] Soft and fair!
25 So urgent that way, scarce allows me breath I cannot part so soon now.
To speak to my new comforts. beatrice [aside] The villain’s fixed.—
Enter De Flores Thou standing toad-pool!
de flores [aside] Yonder’s she. de flores [aside] The shower falls amain now.
What ever ails me, now o’ late especially? beatrice
I can as well be hanged as refrain seeing her; Who sent thee? What’s thy errand? Leave my sight.
Some twenty times a day—nay, not so little— de flores
30 Do I force errands, frame ways and excuses My lord your father charged me to deliver 60
To come into her sight, and I have small reason for’t, A message to you.
And less encouragement; for she baits me still beatrice What, another since?
Every time worse than other, does profess herself Do’t, and be hanged then. Let me be rid of thee.
The cruellest enemy to my face in town, de flores
35 At no hand can abide the sight of me, True service merits mercy.
As if danger or ill luck hung in my looks. beatrice What’s thy message?
I must confess my face is bad enough, de flores
But I know far worse has better fortune, Let beauty settle but in patïence,
And not endured alone, but doted on; You shall hear all.
40 And yet such pig-haired faces, chins like witches’, beatrice A dallying, trifling torment! 65
Here and there five hairs, whispering in a corner, de flores
As if they grew in fear one of another, Signor Alonzo de Piracquo, lady,
Wrinkles like troughs, where swine-deformity swills Sole brother to Tomazo de Piracquo—
The tears of perjury that lie there like wash beatrice
45 Fallen from the slimy and dishonest eye— Slave, when wilt make an end?
Yet such a one plucked sweets without restraint, de flores [aside] Too soon I shall.
And has the grace of beauty to his sweet. beatrice
Though my hard fate has thrust me out to servitude, What all this while of him?

15–19 A true . . . eyesight Even as a lumin-
ous diamond can shine in the absence
of external light, one who truly deserves
something can make his presence felt
though absent—separation being, to
him and his love, like night to a pre-
cious jewel (i.e. in that lustre [their love]
increases with the external light [each
other’s company]). (Middleton alters the
proverb ‘A true friend is a great treasure’
(Tilley F719) to work in a form of his
keyword ‘serve’.)
19 With intellectual eyesight in the imagin-
ation, with one’s ‘mind’s eye’
20–3 And his blessing . . . into a curse My
father’s good will toward me exists
only while I obey him (‘as I regard his
name’); otherwise it turns on me and
becomes a curse.
24 remembered devised
He’s Vermandero (who so adamantly
urges the marriage with Piracquo)
26 my new comforts i.e. Alsemero
27 o’ late lately, of late
32 baits torments (as in animal ‘baiting’;
compare ll. 81–2, note, below)
35 At no hand never, by no means
38 I know far worse This begins what may
be a topical allusion to some well-known
individual ‘in town’ (l. 34)—a specific
phrase for the fashionable society of a
locality, increasingly used with reference
to London. See his continued compar-
isons at ll. 46, 83 ff., and compare
Middleton’s topical satire in Game.
39 alone only
43–4 swine-deformity . . . wash Like swine
that gorge themselves on ‘wash’ (=
kitchen swill or brewery refuse: OED
sb. 11), the deformity De Flores castig-
ates here seems to thrive on perjured
tears that trickle down the trough-like
wrinkles of this ugly face.
45 dishonest unchaste, lascivious
46 plucked sweets gained sweethearts (with
sexual suggestion: compare 3.4.149,
note)
47 of beauty associated with beauty
to his sweet (a) in the eyes of his lover
(b) as his sweetheart
55 this storm compare the proverb ‘After
a Storm comes a calm (fair weather)’
(Tilley S908)
56–7 Soft . . . now Calling on the proverb
‘Soft and fair goes far’ (Tilley, Dent
S601), De Flores counsels himself that
patience may bring what he wants.
58 standing stagnant, foul (referring to his
face)
amain at full force
61 another since another message so soon
63 mercy (a) forbearance (b) reward, thanks
(with play on French merci)
67 Tomazo perhaps with a sense of
‘doubting Thomas’ (compare John
20:25)

1646
 The Changeling. Act 2 Scene 1

de flores The said Alonzo, Enter Vermandero, Alonzo, Tomazo

With the foresaid Tomazo— vermandero [to Alonzo and Tomazo]
70 beatrice Yet again? You’re both welcome,
de flores But an especial one belongs to you, sir,
—Is new alighted. To whose most noble name our love presents
beatrice Vengeance strike the news! The addition of a son, our son Alonzo. 100
Thou thing most loathed, what cause was there in alonzo
this The treasury of honour cannot bring forth
To bring thee to my sight? A title I should more rejoice in, sir.
vermandero
de flores
You have improved it well.—Daughter, prepare;
My lord your father charged me to seek you out.
The day will steal upon thee suddenly.
beatrice beatrice [aside]
75 Is there no other to send his errand by? Howe’er, I will be sure to keep the night, 105
de flores If it should come so near me.
It seems ’tis my luck to be i’th’ way still. [Beatrice and Vermandero talk apart]
beatrice Get thee from me! tomazo Alonzo.
de flores [moving aside] alonzo Brother?
So. [Aside] Why, am not I an ass to devise ways tomazo
Thus to be railed at? I must see her still! In troth I see small welcome in her eye.
80 I shall have a mad qualm within this hour again, alonzo
I know’t, and like a common Garden-bull, Fie, you are too severe a censurer
I do but take breath to be lugged again. Of love in all points: there’s no bringing on you.
What this may bode I know not: I’ll despair the less, If lovers should mark everything a fault, 110
Because there’s daily precedents of bad faces Affection would be like an ill-set book,
85 Beloved beyond all reason; these foul chops Whose faults might prove as big as half the volume.
May come into favour one day ’mongst his fellows: beatrice [to Vermandero]
Wrangling has proved the mistress of good pastime; That’s all I do entreat.
As children cry themselves asleep, I ha’ seen vermandero It is but reasonable;
I’ll see what my son says to’t.—Son Alonzo,
Women have chid themselves abed to men.
Here’s a motion made but to reprieve 115
Exit De Flores
A maidenhead three days longer; the request
beatrice Is not far out of reason, for indeed
90 I never see this fellow but I think The former time is pinching.
Of some harm towards me. Danger’s in my mind still; alonzo Though my joys
I scarce leave trembling of an hour after. Be set back so much time as I could wish
The next good mood I find my father in, They had been forward, yet since she desires it, 120
I’ll get him quite discarded. O, I was The time is set as pleasing as before;
95 Lost in this small disturbance and forgot I find no gladness wanting.
Affliction’s fiercer torrent that now comes vermandero
To bear down all my comforts. May I ever meet it in that point still:

69–70 said . . . foresaid De Flores uses the
rhetoric of legal documents to prolong
his time with Beatrice.
80 qualm fit
81 Garden-bull bulls were regularly ‘baited’
(set upon by dogs for public sport) at the
Paris Garden baiting ring on the south
bank of the Thames
82 lugged dragged, pulled down by the ear
(as bulls were)
85 chops cheeks
87 Wrangling noisy quarrelling
89 have chid who have chided, argued
92 of for
98 one i.e. welcome
100 The addition of a son (a) the benefit
of a son-in-law (b) his heraldic mark
(‘addition’ OED 5) added to our family’s
coat of arms (compare ‘treasury of
honour’, l. 101, ‘title’, l. 102)
103 improved established
105–6 I will be in charge of what happens
at night if that time (or situation) should
get so close to actually happening
105 night i.e. night watch
109 points probably a pun on ‘point’
meaning ‘a dot or small mark used
in writing’ (OED sb.1 3), or perhaps
simply ‘punctuation mark’ (3.a), so as
to form part of the extended metaphor,
from proof-correction, in the speech
(Holdsworth)
bringing on persuading, leading forward
or on (perhaps with a legal undertone, as
in Hamlet, 3.1.9)
110–12 fault . . . faults defect, imperfec-
tion . . . misprints
111 ill-set badly set (for printing, by the
compositor or typesetter)
113 That’s . . . entreat In private conversa-
tion, Beatrice has been urging her father
to delay the marriage; he now accedes,
and puts the proposition before Alonzo.
115 motion proposal
118 former time schedule we formerly
agreed to (for the marriage)
123 May . . . point still may I always find
the time (‘it’; and compare l. 121) ‘set’
(l. 121) to that ‘point’ (i.e. moment,
instant: OED sb.1 24) that causes you
such gladness. But ‘in that point’ may
also suggest the phrase ‘in point’ (com-
pare French à propos), meaning ‘apposite,
appropriate’ (OED D.4d).

1647
 Act 2 Scene 1 The Changeling.

You’re nobly welcome, sirs. tomazo

Exeunt Vermandero and Beatrice Why, here is love’s tame madness: thus a man
tomazo Quickly steals into his vexatïon. Exit
125 So, did you mark the dullness of her parting now?
alonzo Enter Diaphanta and Alsemero 2.2
What dullness? Thou art so exceptious still! diaphanta
tomazo The place is my charge. You have kept your hour,
Why, let it go then: I am but a fool And the reward of a just meeting bless you.
To mark your harms so heedfully. I hear my lady coming. Complete gentleman,
alonzo Where’s the oversight? I dare not be too busy with my praises,
tomazo
They’re dangerous things to deal with. Exit
Come, your faith’s cozened in her, strongly cozened.
alsemero This goes well. 5
130 Unsettle your affection with all speed
These women are their ladies’ cabinets;
Wisdom can bring it to; your peace is ruined else.
Things of most precious trust are locked into ’em.
Think what a torment ’tis to marry one
Enter Beatrice
Whose heart is leaped into another’s bosom.
beatrice
If ever pleasure she receive from thee,
135 It comes not in thy name, or of thy gift; I have within mine eye all my desires.
She lies but with another in thine arms, Requests that holy prayers ascend heaven for,
He the half-father unto all thy children And brings ’em down to furnish our defects, 10
In the conception—if he get ’em not, Come not more sweet to our necessities
She helps to get ’em for him in his absence. Than thou unto my wishes.
140 And how dangerous alsemero We’re so like
And shameful her restraint may go in time to, In our expressions, lady, that unless I borrow
It is not to be thought on without sufferings. The same words, I shall never find their equals. [They
alonzo embrace]
You speak as if she loved some other, then. beatrice
tomazo How happy were this meeting, this embrace, 15
Do you apprehend so slowly? If it were free from envy! This poor kiss,
alonzo Nay, an that It has an enemy, a hateful one,
145 Be your fear only, I am safe enough. That wishes poison to’t: how well were I now
Preserve your friendship and your counsel, brother, If there were none such name known as Piracquo,
For times of more distress. I should depart Nor no such tie as the command of parents! 20
An enemy, a dangerous, deadly one, I should be but too much blessed.
To any but thyself, that should but think alsemero One good service
150 She knew the meaning of inconstancy, Would strike off both your fears, and I’ll go near it
Much less the use and practice. Yet we’re friends; too,
Pray let no more be urged. I can endure Since you are so distressed. Remove the cause,
Much till I meet an injury to her, The command ceases; so, there’s two fears blown out
Then I am not myself. Farewell, sweet brother. With one and the same blast.
155 How much we’re bound to heaven to depart lovingly. beatrice Pray let me find you, sir. 25
Exit What might that service be, so strangely happy?

125 dullness slowness to respond (especially
from lack of interest)
126 exceptious contrary, contradictory
129 cozened cheated, deceived
131 bring it to effect
139 absence Tomazo implies that by think-
ing of her adulterous lover during sex
with her husband, an adulterous wo-
man effectively ‘gets’ (i.e. conceives and
bears) a child for and of that lover. It
was commonly thought that a woman’s
imagination could influence the body of a
child at conception.
141 her restraint (a) her keeping (restrain-
ing) her true passions to herself (b) her
being restrained (by you)—as in 4.3.73
144 an if
145 your fear only your only fear
2.2.1 charge responsibility
4 I dare . . . with my praises Diaphanta here
flirts with Alsemero.
6 women i.e. maidservants
ladies’ cabinets cabinets into which
women locked their most personal and
otherwise valuable possessions
10 And . . . defects and brings down the
things we pray for in order to supply us
with what we desire
’em i.e. requests
16 envy ill will
16–18 This poor kiss . . . poison to’t i.e.
Piracquo would wish the kiss I gave you
were poisoned, if he knew.
22 strike off (a) cancel (as if by the stroke
of a pen) an item from a list or record
(b) remove (e.g. fetters or bonds) with a
sharp blow
I’ll go near it (a) I’ll be explicit about
what it is (b) I won’t shirk doing it
23–4 the cause . . . ceases The ‘cause’ is
Alonzo, the ‘command’ Vermandero’s
wishes. Alsemero alters the Latin pro-
verb Ablata causa, tollitur effectus, often
paraphrased ‘Remove the cause, and the
effect ceases to be’ (Dent, Tilley C202).
25 same blast breath (here blowing out two
flames at once)
find understand
26 strangely extremely, unexpectedly

1648

alsemero
The honourablest piece ’bout man: valour.
I’ll send a challenge to Piracquo instantly.
beatrice
How? Call you that extinguishing of fear
30 When ’tis the only way to keep it flaming?
Are not you ventured in the action,
That’s all my joys and comforts? Pray, no more, sir.
Say you prevailed—your dangers and not mine,
then—
The law would claim you from me, or obscurity
35 Be made the grave to bury you alive.
I’m glad these thoughts come forth. O, keep not one
Of this condition, sir. Here was a course
Found to bring sorrow on her way to death:
The tears would ne’er ’a’ dried till dust had choked
’em.
40 Blood-guiltiness becomes a fouler visage.
[Aside] And now I think on one. I was to blame:
I ha’ marred so good a market with my scorn;
’T’ad been done questionless! The ugliest creature
Creation framed for some use, yet to see
45 I could not mark so much where it should be!
alsemero
Lady—
beatrice [aside]
Why, men of art make much of poison,
Keep one to expel another. Where was my art?
alsemero
Lady, you hear not me.
beatrice I do especially, sir.
The present times are not so sure of our side
50 As those hereafter may be. We must use ’em, then,
As thrifty folks their wealth: sparingly, now,
Till the time opens.
alsemero You teach wisdom, lady.
beatrice
Within there: Diaphanta!
Enter Diaphanta
diaphanta Do you call, madam?
37–8 Here was a course \ Found this would
be a way, indeed
38 sorrow . . . death i.e. not only to make me
sorrowful but to push me toward death
41 one i.e. one ‘fouler visage’ (l. 40: De
Flores)
42 marred . . . market spoiled such a good
opportunity
my scorn my scornful behaviour toward
De Flores
44 Creation . . . use a commonplace held that
everything in nature had been created
for some purpose (‘use’)
46 men of art doctors, apothecaries. ‘Art’
here means learning, knowledge.
46–7 make much . . . another proverbial:
‘One poison expels another’ (Tilley P457)
The Changeling. Act 2 Scene 2
beatrice
Perfect your service, and conduct this gentleman
The private way you brought him.
diaphanta I shall, madam. 55
alsemero
My love’s as firm as love e’er built upon.
Exeunt Diaphanta and Alsemero [one way; at
another] enter De Flores
de flores [aside]
I have watched this meeting, and do wonder much
What shall become of t’other; I’m sure both
Cannot be served unless she transgress. Happily,
Then, I’ll put in for one; for if a woman 60
Fly from one point, from him she makes a husband,
She spreads and mounts then like arithmetic:
One, ten, a hundred, a thousand, ten thousand—
Proves in time sutler to an army royal.
Now do I look to be most richly railed at, 65
Yet I must see her.
beatrice [aside] Why, put case I loathed him
As much as youth and beauty hates a sepulchre,
Must I needs show it? Cannot I keep that secret
And serve my turn upon him? See, he’s here.—
De Flores!
de flores [aside]
Ha, I shall run mad with joy! 70
She called me fairly by my name, De Flores,
And neither ‘rogue’ nor ‘rascal’!
beatrice What ha’ you done
To your face o’ late? You’ve met with some good
physician;
You’ve pruned yourself, methinks.
You were not wont to look so amorously.
de flores [aside] Not I; 75
’Tis the same phys’nomy to a hair and pimple,
Which she called scurvy scarce an hour ago:
How is this?
beatrice Come hither. Nearer, man.
de flores [aside, crossing to her]
I’m up to the chin in heaven!
beatrice Turn, let me see.
47 art cunning (in contrast to the learned 61 Fly . . . point break away from a single
‘art’ of the ‘men’ in l. 46) position (i.e. constancy); with pun on
49–50 are not . . . may be are not as cer- decimal ‘point’, the woman shifts from
tainly favourable to us as we can hope 1.0 to 10.0, etc.
future times may be 62 spreads and mounts lifts her wings and
52 time opens the right moment reveals rises (but with a strong sense of ‘spreads
itself her legs and mounts men’)
54 Perfect finish, make complete 64 sutler provisioner (with play on
58 t’other the other (Alonzo) ‘prostitute’)
59 served looked after (with strong sexual 66 put case suppose (as in presenting a
overtones) hypothesis (often legal in nature); OED
Happily perhaps, haply (as it was 12)
probably pronounced) 69 serve my turn upon him manipulate him
60 put in for one enter my own bid (i.e. to my advantage
as one of those seeking ‘favours’ from 74 pruned preened, groomed
Beatrice-Joanna); with salacious over- 75 amorously attractive; like a lover
tones (compare 4.3.36) 76 phys’nomy physiognomy
1649
 Act 2 Scene 2 The Changeling.

[She touches him] Faugh, ’tis but the heat of the liver, I And lend it a free word; ’las, how it labours
80 perceive’t. For liberty! I hear the murmur yet
I thought it had been worse. Beat at your bosom.
de flores [aside] beatrice Would creation—
Her fingers touched me! She smells all amber. de flores
beatrice Ay, well said, that’s it.
I’ll make a water for you shall cleanse this beatrice Had formed me man!
Within a fortnight. de flores
de flores With your own hands, lady? Nay, that’s not it.
beatrice beatrice O, ’tis the soul of freedom! 110
85 Yes, mine own, sir; in a work of cure, I’ll I should not then be forced to marry one
Trust no other. I hate beyond all depths; I should have power
de flores [aside] Then to oppose my loathings, nay, remove ’em
’Tis half an act of pleasure Forever from my sight.
To hear her talk thus to me. de flores O blest occasion!—
beatrice [aside] When we’re used Without change to your sex, you have your wishes. 115
To a hard face, ’tis not so unpleasing.— Claim so much man in me.
It mends still in opinion, hourly mends, beatrice In thee, De Flores?
90 I see it by experience. There’s small cause for that.
de flores [aside] de flores Put it not from me;
I was blessed to light upon this minute: It’s a service that I kneel for to you. [He kneels]
I’ll make use on’t. beatrice
beatrice You are too violent to mean faithfully:
Hardness becomes the visage of a man well; There’s horror in my service, blood and danger. 120
It argues service, resolution, manhood, Can those be things to sue for?
If cause were of employment. de flores If you knew
95 de flores ’Twould be soon seen, How sweet it were to me to be employed
If e’er your ladyship had cause to use it. In any act of yours, you would say then
I would but wish the honour of a service I failed, and used not reverence enough
So happy as that mounts to. When I receive the charge on’t.
beatrice We shall try you— beatrice [aside] This is much, methinks. 125
O my De Flores! Belike his wants are greedy, and to such
de flores [aside] Gold tastes like angels’ food.—Rise.
How’s that? de flores I’ll have the work first.
100 She calls me hers already, ‘my De Flores’!— beatrice [aside]
You were about to sigh out somewhat, madam. Possible his need is strong upon him.—
beatrice [She gives him money] There’s to encourage thee.
No, was I? I forgot—O! As thou art forward and thy service dangerous, 130
de flores There ’tis again— Thy reward shall be precious.
The very fellow on’t. de flores That I have thought on;
beatrice You are too quick, sir. I have assured myself of that beforehand
de flores And know it will be precious: the thought ravishes.
There’s no excuse for’t, now I heard it twice, madam. beatrice
105 That sigh would fain have utterance: take pity on’t Then take him to thy fury!

80 Faugh an interjection of impatience
82 all amber like ambergris (a waxy
substance from sperm whales, used in
perfumes)
83 water lotion; perhaps with bawdy as well
86 act of pleasure sexual act
89 mends still in opinion continually
becomes more acceptable
95–8 ’Twould . . . to De Flores says she has
only to test his resolution and ability,
but his response also puns on the sexual
implications of ‘Hardness’ (l. 93 =
‘’Twould’, ‘it’), ‘use it’ (l. 96), ‘service’
(l. 97), and ‘mounts’ (l. 98).
103 quick perceptive (with, perhaps, a hint
of ‘too quick to take up my words’)
106 And . . . word give it utterance
108 creation i.e. the process of my creation
109 that’s it i.e. ‘creation’, which De Flores
understands as ‘procreation’
110 O . . . freedom i.e. being a man
114 occasion opportunity
117 small cause for i.e. little reason for
thinking so
119 too . . . faithfully too eager truly to mean
(i.e. have had time to consider fully)
what you say
123 any act of yours with ambivalent
sexual suggestion; see note at l. 86
above
125 the charge on’t the orders you give me
126 Belike perhaps
127 angels’ food manna from heaven;
compare Psalm 78:25
work commission
128 Possible possibly
130 forward bold
131 reward Beatrice means financial
‘reward’; De Flores makes it plain to the
audience that he thinks in sexual terms
(compare ‘ravishes’, l. 133).

1650
 The Changeling. Act 3 Scene 2

de flores I thirst for him. I will assure you, worth your time and sight, my lord.
135 beatrice Alonzo de Piracquo! alonzo
de flores [rising] Puh, that shall be no hind’rance.
His end’s upon him; he shall be seen no more. de flores I’m your servant, then.
beatrice ’Tis now near dinner-time; ’gainst your lordship’s
How lovely now dost thou appear to me! rising 165
Never was man dearlier rewarded. I’ll have the keys about me.
de flores I do think of that. alonzo Thanks, kind De Flores.
beatrice de flores [aside]
140 Be wondrous careful in the execution. He’s safely thrust upon me beyond hopes. Exeunt
de flores Finis Actus Secundus
Why, are not both our lives upon the cast?
beatrice 
Then I throw all my fears upon thy service.
de flores Incipit Actus Tertius 3.1
They ne’er shall rise to hurt you. Enter Alonzo and De Flores
beatrice When the deed’s done, (In the Act time, De Flores hides a naked rapier)
I’ll furnish thee with all things for thy flight; de flores
145 Thou mayst live bravely in another country. Yes, here are all the keys. I was afraid, my lord,
de flores I’d wanted for the postern; this is it.
Ay, ay: we’ll talk of that hereafter. I’ve all, I’ve all, my lord.
beatrice [aside] I shall rid myself [He shows a large key]
Of two inveterate loathings at one time: This for the sconce.
Piracquo and his dog-face. Exit alonzo
de flores O my blood! ’Tis a most spacious and impregnable fort.
Methinks I feel her in mine arms already, de flores
150 Her wanton fingers combing out this beard, You’ll tell me more, my lord. This descent 5
And being pleased, praising this bad face. Is somewhat narrow. We shall never pass
Hunger and pleasure: they’ll commend sometimes Well with our weapons; they’ll but trouble us.
Slovenly dishes, and feed heartily on ’em; alonzo
Nay, which is stranger, refuse daintier for ’em. Thou sayst true. [They disarm]
155 Some women are odd feeders!—I’m too loud; de flores Pray let me help your lordship.
Here comes the man goes supperless to bed, alonzo
Yet shall not rise tomorrow to his dinner. ’Tis done. Thanks, kind De Flores.
Enter Alonzo de flores Here are hooks, my lord,
alonzo To hang such things on purpose.
De Flores. [He hangs up the rapiers]
de flores alonzo Lead, I’ll follow thee. 10
My kind, honourable lord. Exeunt at one door and enter at the other
alonzo
I am glad I ha’ met with thee. de flores 3.2
de flores Sir? All this is nothing. You shall see anon
alonzo Thou canst show me A place you little dream on.
The full strength of the castle? alonzo I am glad
160 de flores That I can, sir. I have this leisure. All your master’s house
alonzo Imagine I ha’ taken a gondola.
I much desire it. de flores
de flores And if the ways and straits All but myself, sir—[aside] which makes up my
Of some of the passages be not too tedious for you, safety.— 5

140 execution performance (with a grisly
pun)
141 cast i.e. of the dice
145 bravely splendidly, openly
148 his i.e. De Flores’s
blood the inciter of sexual desire (for
which it stands here)
155 are odd feeders have strange tastes
156–7 Here . . . dinner Here’s the man who,
though going to bed without eating,
won’t be rising tomorrow to eat.
165 ’gainst in anticipation of
3.1.0.3 Act time interval between the Acts,
when often music was played
2 I’d . . . postern that I was lacking the key
for the small gate
3 sconce small fortification. Later, the word
takes on the meaning of ‘head’, making
for a grisly pun at 3.2.13–17.
5 You’ll tell me more i.e. when you’ve
seen the rest you’ll praise it even more
strongly
10.2 at one door and . . . the other implying
a change of place (compare 2.1.0.2)

1651
 Act 3 Scene 2 The Changeling.

My lord, I’ll place you at a casement here Enter Isabella and Lollio 3.3
Will show you the full strength of all the castle. isabella
Look, spend your eye a while upon that object. Why, sirrah, whence have you commissïon
alonzo To fetter the doors against me? If you
Here’s rich variety, De Flores. Keep me in a cage, pray whistle to me,
de flores Yes, sir. Let me be doing something.
alonzo lollio You shall be doing, if it please you; I’ll whistle to 5
Goodly munition. you if you’ll pipe after.
10 de flores Ay, there’s ordnance, sir— isabella
No bastard metal—will ring you a peal Is it your master’s pleasure, or your own,
Like bells at great men’s funerals; keep your eye To keep me in this pinfold?
straight, my lord, lollio ’Tis for my master’s pleasure, lest being taken in
Take special notice of that sconce before you: another man’s corn, you might be pounded in another 10
There you may dwell awhile. place.
alonzo I am upon’t. isabella
de flores ’Tis very well, and he’ll prove very wise.
And so am I. lollio He says you have company enough in the house,
[He clubs him with key] if you please to be sociable, of all sorts of people.
15 alonzo De Flores, O De Flores! isabella
Whose malice hast thou put on? Of all sorts? Why, here’s none but fools and madmen. 15
de flores [retrieving rapier] lollio Very well: and where will you find any other, if
Do you question a work of secrecy? you should go abroad? There’s my master and I to boot,
I must silence you. too.
[He stabs him] isabella
alonzo O, O, O! Of either sort one, a madman and a fool.
de flores I must silence you. [He stabs him] lollio I would e’en participate of both, then, if I were as 20
20 So, here’s an undertaking well accomplished. you. I know you’re half mad already; be half foolish
This vault serves to good use now.—Ha! what’s that too.
Threw sparkles in my eye? O, ’tis a diamond isabella
He wears upon his finger. It was well found: You’re a brave, saucy rascal! Come on, sir:
This will approve the work. Afford me then the pleasure of your Bedlam.
[He struggles with the ring] You were commending once today to me, 25
What, so fast on? Your last-come lunatic—what a proper
25 Not part in death? I’ll take a speedy course then: Body there was without brains to guide it,
Finger and all shall off. [He cuts off the finger] So, now And what a pitiful delight appeared
I’ll clear In that defect, as if your wisdom had found
The passages from all suspèct or fear. Exit with body A mirth in madness. Pray, sir, let me partake 30
If there be such a pleasure.

3.2.6 casement (window) recess
10 munition (a) fortifications (b) ammuni-
tion, military stores
ordnance cannon
11 bastard metal probably referring to small
cannon called ‘bastards’ (i.e. ‘bastard
culverin’), but perhaps with a sense of
corrupt, adulterated (hence weaker),
second-rate metal
13 sconce with pun on ‘head’; compare
3.1.3, note
14 dwell look (with pun on ‘reside’); De
Flores’s stratagem is to get Alonzo to
look the other way
upon’t fixed upon it with my gaze. But
De Flores replies with a grim joke: I’m
about this business of killing you.
21 vault probably a hidden recess, with play
on vault as ‘burial chamber’; yet ‘vault’
could also mean ‘a covered conduit for
carrying away water or filth; a drain or
sewer’ (OED 4a); ‘a privy’ (OED 4c); or
‘a deep hole or pit’ (OED 5)
22 Threw that just threw
24 approve confirm my completion of
27 suspèct suspicion
3.3.3 whistle to me i.e. as you would to
caged bird
4 Let . . . doing something Isabella means
only ‘let me go about my business’, but
Lollio in his reply wilfully puts a sexual
interpretation on ‘doing’.
5–6 whistle . . . pipe ‘To dance after a
person’s pipe’ can suggest sexual activity.
8 pinfold kennel, cage, ‘pound’ (compare l.
10)
9–10 in another man’s corn in another
man’s (grain) field—i.e. arms
10–11 pounded in another place locked
up, impounded elsewhere—with joke
(continuing the grain metaphor) on
‘screwed somewhere else’
12 Isabella speaks ironically; this is far from
well, and her husband is a fool.
19 Of either sort one one of each kind
20 participate partake (with sexual sugges-
tion)
21 I know . . . foolish Lollio hints that she
might take him, a fool, as her lover;
because Isabella is the ‘better half ’ of
the mad Alibius, their marriage is ‘half
mad’.
23 brave daring, presumptuous
24 Bedlam lunatic asylum in London,
often used generically (as a form of
‘Bethlehem’ Hospital) for ‘madhouse’;
compare 1.2.0.1, 1.2.52, notes
26 last-come lunatic the madman who has
most recently arrived (Franciscus)
proper handsome, attractive

1652
 The Changeling. Act 3 Scene 3

lollio If I do not show you the handsomest, discreetest
madman—one that I may call the understanding mad-
man—then say I am a fool.
35 isabella Well, a match, I will say so.
lollio When you have had a taste of the madman, you
shall (if you please) see Fools’ College, o’th’ other side.
I seldom lock there: ’tis but shooting a bolt or two, and
you are amongst ’em.
Exit. Enter presently [with Franciscus]
40 Come on, sir, let me see how handsomely you’ll behave
yourself now.
franciscus How sweetly she looks! O, but there’s a
wrinkle in her brow as deep as philosophy. [To Lollio; he
mimes giving him a cup] Anacreon, drink to my mistress’
45 health, I’ll pledge it. Stay, stay, there’s a spider in the
cup! No, ’tis but a grape-stone. Swallow it; fear nothing,
poet. So, so, lift higher. [Lollio laughs]
isabella [to Lollio]
Alack, alack, ’tis too full of pity
To be laughed at. How fell he mad? Canst thou tell?
50 lollio For love, mistress. He was a pretty poet too, and
that set him forwards first; the muses then forsook him,
he ran mad for a chambermaid, yet she was but a dwarf
neither.
franciscus [approaching Isabella] Hail, bright Titania!
55 Why standst thou idle on these flow’ry banks?
Oberon is dancing with his Dryades;
I’ll gather daisies, primroses, violets,
And bind them in a verse of poesy.
lollio Not too near! You see your danger. [He shows a
60 whip]
franciscus O, hold thy hand, great Diomed; thou feedst
thy horses well, they shall obey thee. [He kneels like a
horse] Get up, Bucephalus kneels.
lollio You see how I awe my flock: a shepherd has not
his dog at more obedience. 65
isabella
His conscience is unquiet—sure that was
The cause of this. A proper gentleman.
franciscus [rising] Come hither, Aesculapius; hide the
poison.
lollio [putting up whip] Well, ’tis hid. 70
franciscus Didst thou never hear of one Tiresias, a famous
poet?
lollio Yes, that kept tame wild-geese.
franciscus That’s he! I am the man.
lollio No! 75
franciscus Yes! But make no words on’t; I was a man
seven years ago.
lollio A stripling, I think you might say.
franciscus Now I’m a woman, all feminine.
lollio I would I might see that. 80
franciscus Juno struck me blind.
lollio I’ll ne’er believe that; for a woman, they say, has
an eye more than a man.
franciscus I say she struck me blind.
lollio And Luna made you mad. You have two trades to 85
beg with.
franciscus
Luna is now big-bellied, and there’s room
For both of us to ride with Hecatë;
I’ll drag thee up into her silver sphere,
And there we’ll kick the dog (and beat the bush) 90

35 a match an agreement, compact (i.e.
‘that’s a deal’)
37 Fools’ College the madmen and fools
are kept apart; see 1.2.44, 221. As
Bedlam hospital was divided into two
wings, perhaps an actual practice is here
referred to.
38 shooting a bolt sliding back the bolt on
a door (but compare also the proverb
‘A fool’s bolt is soon shot’ (Tilley, Dent
F515), where ‘bolt’ = arrow).
44 Anacreon Greek lyric poet famous for
his songs of love and wine-drinking.
Franciscus’s mad speech, unlike that
of the ‘Bedlam’ madmen, continually
centres on classical references; this may
play on contemporary tavern culture.
45–6 spider in the cup It was thought that,
seen in a cup, spiders had the power to
poison.
46 grape-stone Anacreon was believed to
have died from choking on the stone of a
dried grape while drinking wine.
47 lift higher presumably Franciscus
refers to lifting a cup higher while
drinking. Here Lollio may indulge him by
miming Anacreon drinking a ‘health’, or
Franciscus may merely address an empty
part of the stage.
51 set him forwards first first gave him a
tendency (to madness)
52–3 yet . . . neither even though she was
nothing but a dwarf
54–6 Titania . . . Oberon the queen and
king of fairy land, known best from A
Midsummer Night’s Dream
56 dancing . . . Dryades sporting with his
wood-nymphs. Franciscus uses the
cover of madness to hint to Isabella that
Alibius is ‘dancing’ (= copulating) with
other women.
61 Diomed In mythology, Diomedes was
king of the Bistones, in Thrace, whose
mares (compare ‘horses’, l. 62) ate
human flesh. (But compare also the
Iliad 5, 10, where (another) Diomedes
is associated with horses.)
63 Bucephalus horse of Alexander the Great,
which only he could ride
67 this i.e. his madness
68 Aesculapius (Greek) patron divinity of
medicine
69 poison Lollio’s whip (compare ll. 94–5
below)
71 Tiresias mythological Theban sooth-
sayer who, having been changed into
a woman for seven years, was blinded by
Juno as a punishment for revealing that
women enjoy sex more than men do
71–2 famous poet Tiresias was a prophet,
‘poet’ in so far as prophets and seers
were so considered.
73 tame wild-geese possibly a joke on
‘goose’ as slang for prostitute; the
oxymoron seems also connected with
the gender inversion of Tiresias as man
and woman
77 seven years ago see note at l. 71.
78 stripling youth
81 Juno Juno was responsible for striking
Tiresias blind.
83 an eye more sexual joke on the vagina
as ‘eye’
85 Luna the moon, and cause of ‘lunacy’
85–6 two trades to beg with i.e. being blind
and mad (beggars often pretended to be
both)
87 big-bellied (a) full (b) pregnant
88 Hecatë a witch goddess, associated with
the moon and black magic—here seen as
a source of (supernatural) transportation
90 dog . . . bush The Man in the Moon was
thought to have a dog and a bush.

1653
 Act 3 Scene 3 The Changeling.

That barks against the witches of the night; madman (singing, within)
The swift lycanthropi that walks the round, Bounce! Bounce!
We’ll tear their wolvish skins, and save the sheep. He falls! He falls!
[He attempts to seize Lollio] isabella
lollio Is’t come to this? [He flourishes the whip] Nay, then, Hark you, your scholars in the upper room
95 my poison comes forth again, mad slave! Indeed, abuse Are out of order. 125
your keeper! lollio [shouting offstage] Must I come amongst you
isabella there?—Keep you the fool, mistress. I’ll go up and play
I prithee, hence with him, now he grows dangerous. left-handed Orlando amongst the madmen. Exit
franciscus (sings) isabella Well, sir.
Sweet love, pity me, antonio [removing disguise]
Give me leave to lie with thee. ’Tis opportuneful now, sweet lady! Nay, 130
100 lollio No, I’ll see you wiser first. To your own kennel. Cast no amazing eye upon this change.
franciscus (sings) isabella Ha!
No noise—she sleeps, antonio
Draw all the curtains round; This shape of folly shrouds your dearest love,
The truest servant to your powerful beauties,
Let no soft sound
Whose magic had this force thus to transform me. 135
Molest the pretty soul;
isabella
105 But love, and love,
You are a fine fool indeed.
Creeps in at a mouse-hole. Exit Franciscus
antonio O, ’tis not strange:
lollio [after him] I would you would get into your hole.
Love has an intellect that runs through all
Now, mistress, I will bring you another sort: you shall The scrutinous sciences; and like
be fooled another while. Tony! Come hither, Tony! A cunning poet, catches a quantity
Enter Antonio Of every knowledge, yet brings all home 140
110 Look who’s yonder, Tony. Into one mystery, into one secret
antonio Cousin, is it not my aunt? That he proceeds in.
lollio Yes, ’tis one of ’em, Tony. isabella You’re a parlous fool.
antonio Hee, hee! How do you, uncle? antonio
lollio Fear him not, mistress: ’tis a gentle nidget; you No danger in me: I bring naught but love
115 may play with him, as safely with him as with his And his soft-wounding shafts to strike you with.
bauble. Try but one arrow; if it hurt you, 145
isabella How long hast thou been a fool? I’ll stand you twenty back in recompense. [He kisses
antonio Ever since I came hither, cousin. her]
isabella isabella
Cousin? I’m none of thy cousins, fool. A forward fool too!
120 lollio O mistress, fools have always so much wit as to antonio This was love’s teaching:
claim their kindred. A thousand ways she fashioned out my way,

92 lycanthropi wolf-men
walks the round walk a regular circuit
as a sentinel
95 slave rascal
100 your own kennel i.e. in contrast
to those of the ‘dog’ (l. 90) and
‘lycanthropi’ (l. 92) he has threatened.
(‘kennel’ = room, cell)
105–6 love . . . mouse-hole i.e. love creeps
in at any little crevice; with sexual
innuendo of the vagina. ‘Mouse’ =
diminutive for woman or sweetheart.
107 hole i.e. cell
109 fooled (a) amused by a fool (b) deceived
111 aunt ‘Aunt’ could mean ‘bawd’ or
‘prostitute’ as well as ‘relative’; ‘One of
my aunts’ (compare 112) was proverbial
bawdy (see Tilley A398).
113 uncle If Antonio’s ‘aunts’ and
‘cousins’ (ll. 118–19) are prostitutes,
then his ‘uncle’ is likely to be an ‘uncle
Pandarus’, as in Troilus and Cressida.
114 nidget idiot
116 bauble a toy or trifle. Technically,
a bauble was a stick or baton with a
carved ass’s head and ears on top, used
by a fool or court jester: see OED 4. Here
it possesses a sexual sense.
118 cousin As Isabella realizes, like ‘aunt’ (l.
111), ‘cousin’ could refer to a prostitute
or easy woman.
122 Bounce bang, the sound of a gun.
127 Keep you take care of
128 left-handed Orlando a clumsy, parodic,
or perhaps even sinister version of the
violent, mad hero of Ariosto’s Orlando
Furioso
130 opportuneful convenient. Antonio
here drops his feigned madness to woo
Isabella.
131 amazing amazed
136 fine proper; also: intricate, complex.
Isabella speaks sardonically, with sug-
gestion that Antonio is making a fool of
himself in love.
138 scrutinous sciences searching, prying
fields of learning
141 mystery secret (as in the following line),
but also with a sense of a science, or
special branch of learning or training
143 naught nothing
love i.e. Cupid
145 one arrow Antonio may mean ‘arrow’
(i.e. of Cupid) as ‘kiss’; it may also have
a buried meaning of ‘penis’.
146 stand you twenty back take twenty
back from you in return. (‘Stand’ of-
ten had a connotation of male sexual
arousal.)

1654
 The Changeling. Act 3 Scene 3

And this I found the safest and the nearest lollio This is no wit to speak on. Will you be rid of the
150 To tread the Galaxia to my star. fool now?
isabella isabella By no means!—Let him stay a little. 180
Profound, withal! Certain you dreamed of this: madman (within) Catch there! Catch the last couple in
Love never taught it waking. hell!
antonio lollio Again? Must I come amongst you?—Would my
Take no acquaintance of these outward follies; master were come home! I am not able to govern both
There is within a gentleman that loves you. these wards together. Exit 185
isabella antonio
When I see him, I’ll speak with him. So, in the mean Why should a minute of love’s hour be lost?
155 time, isabella
Keep your habit; it becomes you well enough. Fie, out again? I had rather you kept
As you are a gentleman, I’ll not discover you; Your other posture: you become not your tongue
That’s all the favour that you must expect: When you speak from your clothes.
When you are weary, you may leave the school, antonio How can he freeze
160 For all this while you have but played the fool. Lives near so sweet a warmth? Shall I alone 190
Walk through the orchard of the Hesperides
Enter Lollio
And, cowardly, not dare to pull an apple?
antonio [disguising himself ]
This with the red cheeks I must venture for.
And must again;—
[He kisses her]
[As Tony] Hee, hee! I thank you, cousin! (sings)
Enter Lollio above
I’ll be your Valentine isabella Take heed, there’s giants keep ’em.
Tomorrow morning. [He kisses her again]
165 lollio How do you like the fool, mistress? lollio [aside] How now, fool: are you good at that? Have 195
isabella Passing well, sir. you read Lipsius? He’s past Ars Amandi; I believe I must
lollio Is he not witty, pretty well for a fool? put harder questions to him, I perceive that.
isabella If he hold on as he begins, he is like to come to isabella
something. You are bold without fear too.
170 lollio Ay, thank a good tutor. You may put him to’t; antonio What should I fear,
he begins to answer pretty hard questions. Tony: how Having all joys about me? Do you but smile,
many is five times six? And love shall play the wanton on your lip, 200
antonio Five times six is six times five. Meet and retire, retire and meet again;
lollio What arithmetician could have answered better? Look you but cheerfully, and in your eyes
175 How many is one hundred and seven? I shall behold mine own deformity,
antonio One hundred and seven is seven hundred and And dress myself up fairer. I know this shape
one, cousin. Becomes me not, but in those bright mirrors 205

150 Galaxia Milky Way
151 withal in addition to (or on top of)
everything else, also
152 waking while you were awake (and
presumably in possession of your rational
faculties)
156 habit costume; with a glance at ‘role’
becomes suits
157 discover uncover, give you away
168–9 If he . . . come to something An
ambiguous line: Antonio/Tony may
‘come to something’, signifying (a) to
Lollio, that ‘Tony’ promises to advance
in his education; and perhaps (b) to
Antonio, that she may be open to his
advances; and (c) to herself, that he may
eventually come to grief, or ridicule. See
following note.
170–1 Ay . . . hard questions On the surface,
Lollio understands Isabella’s response
(ll. 168–9) to deal with his tutoring of
‘Tony’—where ‘put him to’t’ means ‘put
him to his examination, test his know-
ledge’; yet with ‘pretty hard questions’
(‘hard’ = erect), this line takes on a
bawdy meaning.
178 no wit to speak on i.e. not a remark-
able example of wit
181–2 Catch the last couple in hell In the
outdoor (courting) game of barley-break,
referred to again at 5.3.163, one couple
would join hands within a marked-off,
circular area called ‘hell’, and attempt
to catch others as they ran through the
circle. Those caught had to replace the
original pair in ‘hell’.
187 out i.e. of your role as a fool
188–9 you become not . . . clothes when
Antonio speaks differently from how he is
dressed (he is dressed as a fool), he does
not adorn decorously (‘becomes’ OED III)
the body (‘yourself ’) that wears fool’s
clothes. Compare l. 156 above, and note
189–90 How . . . warmth? (a) how could
anyone not respond to you amorously?
(b) how can Alibius be so old and pas-
sionless?
191 Hesperides three mythological nymphs
whose orchard contained golden apples
193 This i.e. this golden apple (Isabella)
194 giants The Hesperides were the daugh-
ters of Atlas, a giant who placed a
dragon guard over the golden apples.
195 that i.e. kissing or making love
196 Lipsius Lipse, a Renaissance humanist
best known for his Latin epigrams and
translations; here the joke is on the ‘Lips’
in his name.
Ars Amandi Latin title of Ovid’s Arts
of Love; Lollio sardonically jests that
Antonio appears to have graduated
beyond Ovid’s famous treatise. In view
of the preceding pun on lips, ‘Ars’ here is
probably a pun on ‘arse’.
199 Do you but if you will only
205 mirrors i.e. of Isabella’s eyes

1655
 Act 3 Scene 3 The Changeling.

I shall array me handsomely. Such drawing arctics women’s beauties are. 235
lollio Cuckoo! Cuckoo! Enter Lollio
Exit [Lollio. Antonio embraces Isabella. Lollio lollio How dost thou, sweet rogue?
re-enters presently with] Madmen above, some as isabella How now?
birds, others as beasts. [Antonio and Isabella part] lollio Come, there are degrees; one fool may be better
antonio than another.
What are these? isabella What’s the matter? 240
isabella Of fear enough to part us. lollio Nay, if thou giv’st thy mind to fool’s-flesh, have at
Yet are they but our schools of lunatics, thee! [He tries to kiss her]
210 That act their fantasies in any shapes isabella
Suiting their present thoughts—if sad, they cry; You bold slave, you!
If mirth be their conceit, they laugh again. lollio I could follow now as t’other fool did:
Sometimes they imitate the beasts and birds, ‘What should I fear, 245
Singing, or howling, braying, barking; all Having all joys about me? Do you but smile,
215 As their wild fancies prompt ’em. And love shall play the wanton on your lip,
[Exeunt Madmen, above] Meet and retire, retire and meet again;
Enter Lollio Look you but cheerfully, and in your eyes
antonio
I shall behold my own deformity, 250
These are no fears.
And dress myself up fairer; I know this shape
isabella But here’s a large one: my man.
Becomes me not—’
antonio [as Tony] Ha, hee! That’s fine sport indeed,
And so as it follows. But is not this the more foolish
cousin.
lollio I would my master were come home. ’Tis too much way? Come, sweet rogue; kiss me, my little Lacede-
220 for one shepherd to govern two of these flocks; nor can monian. Let me feel how thy pulses beat. Thou hast a 255
I believe that one churchman can instruct two benefices thing about thee would do a man pleasure.—I’ll lay my
at once—there will be some incurable mad of the one hand on’t.
side, and very fools on the other. Come, Tony. [He tries to embrace her]
antonio Prithee cousin, let me stay here still. isabella
225 lollio No, you must to your book now; you have played Sirrah, no more! I see you have discovered
sufficiently. This love’s knight-errant, who hath made adventure
isabella Your fool is grown wondrous witty. For purchase of my love. Be silent, mute— 260
lollio Well, I’ll say nothing; but I do not think but he Mute as a statue—or his injunction
will put you down one of these days. For me enjoying shall be to cut thy throat;
Exeunt Lollio and Antonio I’ll do it, though for no other purpose,
230 isabella Here the restrainèd current might make breach, And be sure he’ll not refuse it.
Spite of the watchful bankers. Would a woman stray, lollio My share, that’s all. I’ll have my fool’s part with 265
She need not gad abroad to seek her sin; you.
It would be brought home one ways or other. isabella
The needle’s point will to the fixèd north, No more: your master.

207 Cuckoo! Cuckoo! Lollio signals Alibius’s
cuckoldry by mimicking the cuckoo bird
(which appropriates other birds’ nests for
its own use).
208 Of fear enough fearful enough, threat-
ening enough
212 conceit thought, whim
216 no fears nothing to be afraid of
here’s a large one: my man ‘one’ = fear;
‘man’ = servant, i.e. Lollio. As Rowley
the actor specialized in fat clown roles,
‘large’ may indicate that he intended to
take the part of Lollio himself.
217 That’s fine sport i.e.(a) watching the
madmen (b) kissing Isabella
221–2 two benefices at once A single
clergyman appointed to (and enjoying
the income from, without paying full
attention to) separate churches or livings
(‘benefices’) was long a problem in
England.
229 put you down i.e. in a battle of wits;
but with a sexual sense of ‘laying’ a
woman
230–1 restrainèd current . . . bankers i.e. the
water might get through the dam even
though some (e.g. Alibius) have taken
precautions. A ‘banker’ is a labourer
who makes earthen banks.
234 needle’s point compass needle, with
innuendo of penis
fixèd north magnetic North
235 Such . . . are women’s beauties are just
such North Poles with their attracting
qualities
246–52 Do . . . not By quoting Antonio’s
wooing at ll. 199–205, Lollio reveals
to Isabella that he has witnessed the
attempted seduction. He now offers this
information as sexual blackmail.
253 And so as it follows i.e. et cetera, and so
forth
253–4 more foolish way (a) Antonio’s
(foolish) love poetry (b) what I (a fool)
will do next: accost you
254–5 Lacedemonian (a) one of few words,
‘laconic’ of speech (b) slang for loose
woman or whore
256 thing about thee i.e. between her legs
259 love’s knight-errant (romantic) adven-
turer in the service of love
263 though . . . purpose i.e. as if for the act’s
sake itself
265 part share, portion

1656
 The Changeling. Act 3 Scene 4

Enter Alibius brains down into their feet, that their wits lie more in
alibius Sweet, how dost thou? their heels than in their heads.
isabella alibius
Your bounden servant, sir. Honest Lollio, thou giv’st me a good reason, 295
alibius Fie, fie, sweet heart: And a comfort in it.
No more of that. isabella You’ve a fine trade on’t:
isabella You were best lock me up. Madmen and fools are a staple commodity.
alibius alibius O wife, we must eat, wear clothes, and live.
In my arms and bosom, my sweet Isabella, [He Just at the Lawyer’s Haven we arrive;
270 embraces her] By madmen and by fools we both do thrive. Exeunt 300
I’ll lock thee up most nearly.—Lollio,
We have employment; we have task in hand. Enter Vermandero, Alsemero, Jasperino, and 3.4
At noble Vermandero’s, our castle captain, Beatrice
There is a nuptial to be solemnized— vermandero
275 Beatrice-Joanna, his fair daughter bride, Valencia speaks so nobly of you, sir,
For which the gentleman hath bespoke our pains: I wish I had a daughter now for you.
A mixture of our madmen and our fools, alsemero
The fellow of this creature were a partner
To finish (as it were) and make the fag
For a king’s love.
Of all the revels, the third night from the first.
vermandero I had her fellow once, sir,
280 Only an unexpected passage over,
But heaven has married her to joys eternal; 5
To make a frightful pleasure, that is all— ’Twere sin to wish her in this vale again.
But not the all I aim at. Could we so act it Come, sir: your friend and you shall see the pleasures
To teach it in a wild distracted measure, Which my health chiefly joys in.
Though out of form and figure, breaking Time’s alsemero
head— I hear the beauty of this seat largely.
285 (It were no matter, ’twould be healed again vermandero
In one age or other, if not in this). It falls much short of that. Exeunt. Manet Beatrice
’Tis this, Lollio: there’s a good reward begun, beatrice So, here’s one step 10
And will beget a bounty be it known. Into my father’s favour. Time will fix him.
lollio This is easy, sir, I’ll warrant you: you have about I have got him now the liberty of the house;
290 you fools and madmen that can dance very well, and So wisdom by degrees works out her freedom,
’tis no wonder—your best dancers are not the wisest And if that eye be darkened that offends me—
men; the reason is, with often jumping they jolt their I wait but that eclipse—this gentleman 15

268 bounden servant obligated servant;
compare 1 Corinthians 7:39, and
‘bounden duty and service’ (Book of Com-
mon Prayer (1559), Holy Communion).
With a suggestion that Isabella considers
herself under undeserved duress and con-
straint—where ‘bounden’ = imprisoned,
fettered.
271 nearly tightly
276 bespoke our pains solicited our services
278 fag end, as in ‘fag end’
280 passage over Alibius anticipates that
the madmen and fools will ‘pass over’ a
stage-like area.
282–6 Could . . . this If we could perform
this part of the revels with our madmen,
presenting our show in a wild and
distracted measure, even though this
would be formless and disordering of
Time itself it wouldn’t matter, for it
would all mend itself sooner or later.
284 breaking Time’s head Alibius talks
himself into a cuckold joke (a cuckold’s
head would be ‘broken’ by his horns),
only to dismiss it.
287–8 ’Tis . . . known We’ve already started
to make money with our madmen and
fools; once our show is seen (‘known’),
we will make even more.
297 staple most valuable (said with irony by
Isabella)
299–300 Just . . . thrive Alibius responds
to his wife’s sarcasm by his own wry
observation: we thrive by the aid of
madmen and fools much as we see in
the law courts (‘Lawyer’s Haven’—here
ironic; a similar proverbial location was
called ‘Cuckold’s Haven’).
300 we both (a) both we and the lawyers
(b) you and I (i.e. Alibius and Isabella)
3.4.3 The fellow . . . creature a woman equal
to Beatrice (Alsemero hides his desire
for Beatrice by saying he would give
anything for a woman just like her)
4 I had her fellow once Vermandero
probably refers to Beatrice’s (dead)
mother.
6 in this vale i.e. on earth, in this ‘vale of
tears’
9 seat residence (often of a person of
authority)
largely widely
10 Manet remains
11 fix him i.e. make Alsemero more per-
manent in
14 that eye . . . offends me i.e. Alonzo’s.
Compare Matthew 18:9: ‘And if thine
eye offend thee, pluck it out, and cast
it from thee’. Beatrice is offended by an-
other’s eye and plans to have it plucked
out. With ‘darkened’, and ‘eclipse’ in
the following line, ‘eye’ here has an
astrological resonance: the sun or ‘eye’
of heaven, here to be eclipsed.

1657
 Act 3 Scene 4 The Changeling.

Shall soon shine glorious in my father’s liking, He was as loath to part with’t, for it stuck
Through the refulgent virtue of my love. As if the flesh and it were both one substance. 40
Enter De Flores beatrice
de flores [aside] At the stag’s fall the keeper has his fees;
My thoughts are at a banquet for the deed. ’Tis soon applied: all dead men’s fees are yours, sir.
I feel no weight in’t; ’tis but light and cheap I pray, bury the finger, but the stone
20 For the sweet recompense that I set down for’t. You may make use on shortly: the true value,
beatrice Take’t of my truth, is near three hundred ducats. 45
De Flores. de flores
de flores ’Twill hardly buy a capcase for one’s conscience,
Lady. though,
beatrice Thy looks promise cheerfully. To keep it from the worm, as fine as ’tis.
de flores All things are answerable: time, Well, being my fees I’ll take it;
Circumstance, your wishes, and my service. Great men have taught me that, or else my merit
beatrice Would scorn the way on’t.
Is it done, then? beatrice It might justly, sir. 50
de flores Piracquo is no more. Why, thou mistak’st, De Flores: ’tis not given
beatrice
In state of recompense.
25 My joys start at mine eyes; our sweet’st delights
de flores No, I hope so, lady:
Are evermore born weeping.
You should soon witness my contempt to’t then.
de flores
beatrice
I’ve a token for you.
beatrice For me? Prithee, thou look’st as if thou wert offended.
de flores de flores
But it was sent somewhat unwillingly: That were strange, lady: ’tis not possible 55
I could not get the ring without the finger. My service should draw such a cause from you.
[He shows her the finger] Offended? Could you think so? That were much
30 beatrice Bless me! What hast thou done? For one of my performance, and so warm
de flores Yet in my service.
Why, is that more than killing the whole man? beatrice
I cut his heart strings: ’Twere misery in me to give you cause, sir. 60
A greedy hand thrust in a dish at court de flores
In a mistake hath had as much as this. I know so much, it were so: misery
beatrice In her most sharp condition.
35 ’Tis the first token my father made me send him. beatrice ’Tis resolved then.
de flores And I made him send it back again Look you, sir: here’s three thousand golden florins;
For his last token; I was loath to leave it, [She gives him money]
And I’m sure dead men have no use of jewels. I have not meanly thought upon thy merit.

17 refulgent bright, radiant
virtue This word continues the astro-
logical metaphor of ll. 14–17, since
‘virtue’ can mean power, influence—
here in an astrological sense. The irony
of the word’s moral inappropriateness to
Beatrice’s plan is no less apparent.
18 are . . . deed feast on the imagining of
what I have done
20 For in comparison with
set down for’t (a) set down in my
imaginary account book as what I shall
be paid for the murder (b) placed down
as a wager
22 answerable correspondent, responsive to
(Beatrice’s) desire
25 start at mine eyes make me begin to
weep
33 at court i.e. where, in a communal dish,
it might be cut off by another hurried or
greedy eater
41 At the stag’s fall . . . fees proverbial: A
traditional courtesy in hunting gave the
gamekeeper the skin (and, often, horns)
of a fallen stag.
42 applied brought to bear; compare 1.2.26,
note
43 stone i.e. ring (by metonymy)
45 three hundred ducats The word ‘ducat’
could refer to many gold and silver coins.
Here, perhaps, a good yearly income.
46–7 a capcase for one’s conscience . . .
worm a case, bag, box, or other recept-
acle—here ‘coffin’ is strongly suggested,
hence ‘worm’ in the following line (‘the
worm of conscience’ was proverbial).
There may also be a pun on ‘case of con-
science’, a matter or question on which
one’s conscience may be in doubt (see
‘case’ OED sb.1 7).
48–9 Well . . . that (a) I’ve learned that one
must accept favours from aristocrats and
seem to do so gratefully (b) ‘Great men’
have taught me, by their example, to
take such unethical ‘fees’.
49–50 or else . . . on’t i.e. otherwise, my
sense of self worth would reject this
subservience
50 It might justly i.e. your merit is indeed
real enough that you might show your
true feeling about gifts
56 cause accusation, blame (OED 9; from
Latin causa)
61–2 I know . . . condition (a) I believe
what you’re saying (i.e. it would cause
misery indeed) (b) I know so much (to
your discredit) that it would indeed mean
‘misery’ for you (i.e. were I to reveal it)
63 three thousand golden florins Like
‘ducat’, ‘florin’ could refer to one of
many coins. This amount is probably
meant to sound like much more than the
value of the ring (compare ‘golden’).

1658
 The Changeling. Act 3 Scene 4

de flores This must not be betwixt us.

What, salary? Now you move me. beatrice [aside] The man talks wildly.
65 beatrice How, De Flores? de flores
de flores Come, kiss me with a zeal now.
Do you place me in the rank of verminous fellows beatrice [aside] Heaven, I doubt him! 95
To destroy things for wages? Offer gold de flores
For the life-blood of man? Is any thing I will not stand so long to beg ’em shortly.
Valued too precious for my recompense? beatrice
beatrice Take heed, De Flores, of forgetfulness;
I understand thee not. ’Twill soon betray us.
70 de flores I could ha’ hired de flores Take you heed first.
A journeyman in murder at this rate, Faith, you’re grown much forgetful; you’re to blame
And mine own conscience might have lain at ease, in’t.
And have had the work brought home. beatrice [aside]
beatrice [aside] I’m in a labyrinth! He’s bold, and I am blamed for’t!
What will content him? I would fain be rid of him.— de flores I have eased you 100
I’ll double the sum, sir. Of your trouble. Think on’t: I’m in pain,
75 de flores You take a course And must be eased of you. ’Tis a charity.
To double my vexation, that’s the good you do. Justice invites your blood to understand me.
beatrice [aside]
beatrice
Bless me! I am now in worse plight than I was;
I dare not.
I know not what will please him!—For my fears’ sake,
de flores Quickly!
I prithee make away with all speed possible.
beatrice O, I never shall!
80 And if thou be’st so modest not to name
Speak it yet further off, that I may lose 105
The sum that will content thee, paper blushes not:
What has been spoken and no sound remain on’t.
Send thy demand in writing. It shall follow thee,
But prithee take thy flight. I would not hear so much offence again
de flores You must fly too, then. For such another deed.
beatrice I? de flores Soft, lady, soft:
de flores The last is not yet paid for. O, this act
I’ll not stir a foot else. Has put me into spirit; I was as greedy on’t 110
85 beatrice What’s your meaning? As the parched earth of moisture, when the clouds
de flores weep.
Why, are not you as guilty, in, I’m sure, Did you not mark? I wrought myself into’t,
As deep as I? And we should stick together. Nay, sued and kneeled for’t: why was all that pains
Come, your fears counsel you but ill. My absence took?
Would draw suspèct upon you instantly; You see I have thrown contempt upon your gold:
There were no rescue for you. Not that I want it not, for I do—piteously. 115
90 beatrice [aside] He speaks home. In order I will come unto’t, and make use on’t,
de flores But ’twas not held so precious to begin with.
Nor is it fit we two engaged so jointly For I place wealth after the heels of pleasure;
Should part and live asunder. [He kisses her] And were I not resolved in my belief
beatrice How now, sir? That thy virginity were perfect in thee, 120
This shows not well. I should but take my recompense with grudging,
de flores What makes your lip so strange? As if I had but half my hopes I agreed for.

71 journeyman workman for hire
73 brought home done (by an agent); here
with a figurative sense, as in thrusting
‘home’ a sharp object. See note at l. 90.
78 For . . . sake on account of my fears (i.e.
of what may happen when the murder is
discovered)
90 home to the point (painfully so)
91 engaged . . . jointly brought together
in collaboration (with a compelling
undertone of erotic engagement)
93 strange distant, cold, unfriendly (OED a.
11)
95 doubt him (a) fear him (b) am apprehens-
ive about his motives
96 I . . . so long i.e. I will not wait so long
(with pun on sexual sense of ‘stand’;
compare 3.3.146, note).
’em i.e. kisses
97 forgetfulness i.e. of (a) propriety (b) the
difference between our ranks
99 forgetful i.e. of what you’ve had me do
100 I . . . for’t i.e. He is the one who’s
forward, yet I am blamed.
103 blood supposed seat of the emotions
and passions
108–9 Soft . . . for ironic: slow down,
we’ve yet to settle for the last murder I
committed.
110 put me into spirit excited me; probably
sexual excitement
112 wrought myself into’t (a) worked my
way into position to perform the act
(‘work’ OED v. 33b) (b) fashioned myself
into your instrument (OED v. 3)
116 In order in proper sequence (according
to rank, importance, etc.; OED sb. 27)

1659
 Act 3 Scene 4 The Changeling.

beatrice
Why, ’tis impossible thou canst be so wicked,
Or shelter such a cunning cruelty;
125 To make his death the murderer of my honour!
Thy language is so bold and vicïous
I cannot see which way I can forgive it
With any modesty.
de flores Push! You forget yourself.
A woman dipped in blood, and talk of modesty?
beatrice
130 O misery of sin! Would I had been bound
Perpetually unto my living hate
In that Piracquo than to hear these words.
Think but upon the distance that creation
Set ’twixt thy blood and mine, and keep thee there.
de flores
135 Look but into your conscience; read me there.
’Tis a true book; you’ll find me there your equal.
Push! Fly not to your birth, but settle you
In what the act has made you. You’re no more now;
You must forget your parentage to me.
140 You’re the deed’s creature; by that name you lost
Your first condition, and I challenge you,
As peace and innocency has turned you out,
And made you one with me.
beatrice With thee, foul villain?
de flores Yes, my fair murd’ress. Do you urge me?
Though thou writ’st ‘maid’, thou whore in thy
145 affection,
’Twas changed from thy first love, and that’s a kind
Of whoredom in thy heart; and he’s changed now,
To bring thy second on, thy Alsemero,
Whom (by all sweets that ever darkness tasted),
150 If I enjoy thee not, thou ne’er enjoy’st.
I’ll blast the hopes and joys of marrïage.
I’ll confess all; my life I rate at nothing.
beatrice De Flores!—
de flores [aside]
I shall rest from all lovers’ plagues then;
155 I live in pain now: that shooting eye
Will burn my heart to cinders.
beatrice O sir, hear me!
de flores
She that in life and love refuses me,
In death and shame my partner she shall be.
beatrice
Stay, hear me once for all. [She kneels, weeping] I make
thee master
Of all the wealth I have in gold and jewels; 160
Let me go poor unto my bed with honour,
And I am rich in all things.
de flores Let this silence thee:
The wealth of all Valencia shall not buy
My pleasure from me.
Can you weep fate from its determined purpose? 165
So soon may you weep me.
beatrice [aside] Vengeance begins;
Murder, I see, is followed by more sins.
Was my creation in the womb so cursed,
It must engender with a viper first?
de flores
Come, rise, and shroud your blushes in my bosom; 170
[Beatrice rises]
Silence is one of pleasure’s best receipts:
Thy peace is wrought for ever in this yielding.
’Las, how the turtle pants! Thou’lt love anon
What thou so fear’st and faint’st to venture on.
Exeunt
Finis Actus Tertius

Incipit Actus Quartus 4.1
[Dumb Show]
Enter Gentlemen, Vermandero meeting them with
action of wonderment at the flight of Piracquo.
Enter Alsemero, with Jasperino and Gallants;
Vermandero points to him, the Gentlemen seeming
to applaud the choice. [Exeunt in procession
Vermandero,] Alsemero, Jasperino, and Gentlemen,
[Gallants]; Beatrice the bride following in great
state, accompanied with Diaphanta, Isabella, and
other Gentlewomen; De Flores after all, smiling at
the accident. Alonzo’s ghost appears to De Flores

125 honour chastity, reputation
128 Push an interjection preferred by
Middleton
133 creation (a) Nature (b) God (compare
2.2.108)
139 parentage family, birth, rank
to me (a) with me, in your new relation
to me, when you talk to me (b) in favour
of
140 the deed’s creature what the deed has
made you
141 Your first condition original innocence
141–3 I challenge . . . one with me I lay
claim to you, inasmuch as peace and
innocence have abandoned you, leaving
you my partner (see ‘challenge’ OED v.
5).
143 one with me like me; also: my partner
144 urge provoke (OED v. 7)
145 affection lust, inclination
146 ’Twas changed your affection changed
147 he’s changed now Alonzo’s now
dead (changed from life to death, and
exchanged for Alsemero).
149 by all sweets . . . tasted i.e. by all the
acts of lust ever performed at night
151 blast ruin, destroy
155 shooting eye i.e. Beatrice’s; see note to
3.3.82
159–62 I make . . . things Holdsworth points
out the echoes here of 2 Corinthians
6:8–10.
167 Murder . . . sins proverbial: ‘(Every) sin
brings in another’ (Dent S467.1)
168 my creation the act of my begetting
cursed (a) wicked (b) put under God’s
curse (i.e. ‘cursed’)
169 It . . . first i.e. that I must sleep first with
a snake like De Flores (before doing so
with a man)
170 shroud conceal
171 receipts (a) results (b) rewards
173 turtle turtle-dove (an emblem of perfect
love and constancy—with irony here)
4.1.0.2 Dumb Show a unit of silent
(‘dumb’) movement and activity on
stage, often encapsulating events for
which dialogue was redundant and
otherwise undramatic
0.12 accident scene, event

1660
 The Changeling. Act 4 Scene 1

in the midst of his smile, startles him, showing
him the hand whose finger he had cut off. They
pass over in great solemnity [and so exeunt]
Enter Beatrice
beatrice
This fellow has undone me endlessly;
Never was bride so fearfully distressed.
The more I think upon th’ensuing night,
And whom I am to cope with in embraces—
5 One that’s ennobled both in blood and mind,
So clear in understanding (that’s my plague now),
Before whose judgement will my fault appear
Like malefactors’ crimes before tribunals,
There is no hiding on’t—the more I dive
10 Into my own distress. How a wise man
Stands for a great calamity! There’s no venturing
Into his bed, what course soe’er I light upon,
Without my shame, which may grow up to danger.
He cannot but in justice strangle me
15 As I lie by him—as a cheater use me.
’Tis a precious craft to play with a false die
Before a cunning gamester. Here’s his closet,
The key left in’t, and he abroad i’th’ park.
Sure ’twas forgot. I’ll be so bold as look in’t.
[She unlocks the closet]
20 Bless me! A right physician’s closet ’tis,
Set round with phials—every one her mark too.
Sure he does practise physic for his own use,
Which may be safely called your great man’s wisdom.
What manuscript lies here? ‘The Book of Experiment,
25 Called Secrets in Nature’. [She reads] So ’tis, ’tis so:
‘How to know whether a woman be with child or no.’
I hope I am not yet. If he should try, though!
Let me see. ‘Folio forty-five.’ Here ’tis,
The leaf tucked down upon’t, the place suspicious:
‘If you would know whether a woman be with child or 30
not, give her two spoonfuls of the white water in Glass
C—’
Where’s that Glass C? O, yonder I see’t now.
‘—and if she be with child, she sleeps full twelve hours
after; if not, not.’ 35
None of that water comes into my belly!
I’ll know you from a hundred. I could break you now,
Or turn you into milk, and so beguile
The master of the mystery, but I’ll look to you.
Ha! That which is next is ten times worse: 40
‘How to know whether a woman be a maid or not.’
If that should be applied, what would become of me?
Belike he has a strong faith of my purity,
That never yet made proof; but this he calls
‘A merry sleight, but true experiment, 45
The author Antonius Mizaldus’:
‘Give the party you suspect the quantity of a spoonful
of the water in the Glass M, which—upon her that
is a maid—makes three several effects: ’twill make her
incontinently gape, then fall into a sudden sneezing, last 50
into a violent laughing, else dull, heavy, and lumpish.’
Where had I been?
I fear it, yet ’tis seven hours to bed-time.
Enter Diaphanta
diaphanta
Cuds, madam; are you here?
beatrice [aside] Seeing that wench now,
A trick comes in my mind—’Tis a nice piece 55
Gold cannot purchase.—I come hither, wench,
To look my lord.
diaphanta [aside]
Would I had such a cause to look him, too!—
Why, he’s i’th’ park, madam.
beatrice There let him be.

1 fellow (a) man of low rank—a meaning
she has called on thrice before to de-
scribe him: 1.1.114, 2.1.52–3, 2.1.90;
(b) counterpart, twin, double—an unin-
tended meaning, but prepared for by De
Flores (2.1.86, 2.2.13), Alsemero (3.4.3),
and Vermandero (3.4.4).
undone ruined; with a sense here as well
(from ‘endlessly’) of ‘sexually exhausted’
4 cope with (a) contend with (b) couple,
copulate with
5–7 mind . . . understanding . . . judgement
(Beatrice’s first line to Alsemero described
him as a ‘scholar’, 1.1.64.)
11 Stands for represents—here ‘threatens
me with (a calamity)’
15 As . . . me treat me as a cheater on my
vows
lie by (a) tell an untruth; and (b) recline
next to. Middleton often puns on ‘lie by’:
compare 1.2.30, 5.1.1 and notes.
21 her its
23 Which . . . wisdom i.e. because it gives
him advantages (as the following experi-
ments hint)
24 The Book of Experiment probably
Alsemero’s personal title for his ‘book’—
evidently either a commonplace book
containing transcriptions of various
‘experiments’, or verbatim transcript of
the book mentioned next
25 Secrets in Nature Antoine Mizauld
(Antonius Mizaldus), l. 46, wrote a book
of this title (De Arcanis Naturae), which
has chastity tests; an experiment similar
to this one can also be found in his
Centuriae IX. Memorbilium (1566/1613).
28 Folio leaf (Beatrice is reading a table of
contents)
31 Glass phial
36 water . . . into my belly (a) I’ll avoid
drinking that (b) an (unconscious) semen
joke set up by ‘white water’ in l. 31; see
also 2.2.83, note
38 turn you into milk i.e. replace you with
(harmless) milk
39 master of the mystery expert of the
science, craft
look to watch out for
43 Belike probably, possibly
44 That . . . proof (a) (reading ‘That’ as
‘he’) who has not yet tested my virginity
(b) (reading ‘That’ as ‘purity’) which has
not passed any of the tests it has already
been put to
45 sleight trick, device
50 incontinently immediately
gape yawn, or stare with an open-mouth
51 else then, after that
52 Where had I been? what trouble would I
have been in (had I not seen this)?
54 Cuds a mild oath (a periphrasis for
‘God’s’)
here i.e. in Alsemero’s chamber before
the wedding
55 piece i.e. Diaphanta, where ‘nice piece’
could mean (a) scrupulous woman, or
(b) good-looking wench (i.e. ‘piece’ =
piece of flesh)
56 Gold . . . purchase Compare the proverb
‘Money will do anything’ (Tilley M1084).
57 look seek, search for

1661
 Act 4 Scene 1 The Changeling.

diaphanta Because she lies for me.

60 Ay, madam, let him compass diaphanta [aside] ’Tis a strange humour.—
Whole parks and forests, as great rangers do; But are you serious still? Would you resign
At roosting time a little lodge can hold ’em. Your first night’s pleasure, and give money too?
(Sings) Earth-conquering Alexander, beatrice
That thought the world too narrow for him, As willingly as live. [Aside] Alas, the gold
65 In the end had but his pit-hole. Is but a by-bet to wedge in the honour. 90
beatrice diaphanta [aside]
I fear thou art not modest, Diaphanta. I do not know how the world goes abroad
diaphanta For faith or honesty: there’s both required in this.—
Your thoughts are so unwilling to be known, madam; Madam, what say you to me, and stray no further?
’Tis ever the bride’s fashion towards bed-time I’ve a good mind, in troth, to earn your money.
To set light by her joys, as if she owed ’em not. beatrice You’re too quick, I fear, to be a maid. 95
beatrice diaphanta
Her joys? Her fears, thou wouldst say. How? Not a maid? Nay, then you urge me, madam:
70 diaphanta Fear of what? Your honourable self is not a truer
beatrice With all your fears upon you—
Art thou a maid, and talkst so to a maid? beatrice [aside] Bad enough then!
You leave a blushing business behind: diaphanta
Beshrew your heart for’t. —than I with all my lightsome joys about me.
diaphanta Do you mean good sooth, madam? beatrice
beatrice I’m glad to hear’t, then. You dare put your honesty 100
Well, if I’d thought upon the fear at first, Upon an easy trial?
Man should have been unknown. diaphanta Easy? Anything!
75 diaphanta Is’t possible? beatrice
beatrice I’ll come to you straight. [She crosses to the closet]
I will give a thousand ducats to that woman diaphanta [aside] She will not search me, will she,
Would try what my fear were, and tell me true Like the forewoman of a female jury?
Tomorrow, when she gets from’t. As she likes beatrice [aside]
I might perhaps be drawn to’t. Glass M. Ay, this is it.—Look, Diaphanta:
diaphanta Are you in earnest? You take no worse than I do. [She drinks]
beatrice diaphanta And in so doing 105
80 Do you get the woman, then challenge me, I will not question what ’tis, but take it. [She drinks]
And see if I’ll fly from’t. But I must tell you beatrice [aside] Now if the experiment be true,
This, by the way: she must be a true maid, ’Twill praise itself, and give me noble ease—[Diaphanta
Else there’s no trial; my fears are not hers else. yawns]
diaphanta Begins already: there’s the first symptom,
Nay, she that I would put into your hands, madam, And what haste it makes to fall into the second—
Shall be a maid. [Diaphanta sneezes] 110
85 beatrice You know I should be shamed else, There by this time! Most admirable secret!

61 rangers those who range
62 roosting time bedtime, lodging time
little lodge small cabin (with ‘vagina’
strongly suggested)
65 pit-hole grave, with innuendo on ‘sexual
orifice’
66 modest chaste, virginal
67 Your . . . known perhaps you’re not being
entirely candid with yourself about love
69 set light by make light of
owed ’em not were not responsible for
them (‘owed’ = ‘owned’)
71 maid virgin
73 Beshrew shame (a mild rebuke)
Do you mean good sooth are you in
earnest
75 Man . . . unknown I would never have
become engaged (with ironic subtext,
perhaps intended by Beatrice: she has
already ‘known’ De Flores)
78 gets from’t finishes it
80 Do you . . . me go ahead and find a
woman willing to do this, then try me
84 she Diaphanta means herself
86 lies for (a) lies down in place of (b) per-
forms an untruthful action for. Compare
‘lie by’ and 4.1.15, note.
humour turn of mood
90 by-bet side bet
wedge in solidify, confirm
91 the world . . . abroad the common run of
behaviour
95 quick eager, with pun on ‘quick’ =
pregnant
96 urge me press, push me (to speak)
98 Bad enough then i.e. that comparison is
bad enough
99 lightsome frivolous, flirtatious
100 honesty chastity
102 search examination—including a
gynecological search as might be per-
formed by a female ‘forewoman’ in a
criminal case (l. 103). Such a search
was performed in the divorce case of
Frances Howard in 1613; claiming non-
consummation of the marriage, she was
subsequently examined physically for her
virginity by a group of sixteen matrons
and noblewomen.
106 I will not . . . take it compare the
proverb ‘Maids say nay and take it’ (Dent
M34)
108 noble splendid, with a sense of the
dignity which her falsely-confirmed
virginity will restore to her

1662
 The Changeling. Act 4 Scene 2

On the contrary, it stirs not me a whit, Tell me and truly how many, and who. 5
Which most concerns it. servant Antonio, sir, and Franciscus.
diaphanta vermandero
Ha, ha, ha! When did they leave the castle?
beatrice [aside] servant Some ten days since, sir—
Just in all things, and in order, The one intending to Briamata,
115 As if ’twere circumscribed; one accident Th’other for Valencia.
Gives way unto another. vermandero
diaphanta Ha, ha, ha! The time accuses ’em; a charge of murder 10
beatrice How now, wench? Is brought within my castle gate: Piracquo’s murder.
diaphanta I dare not answer faithfully their absence;
Ha, ha, ha! I am so—so light at heart—Ha, ha, ha!— A strict command of apprehensïon
so pleasurable! Shall pursue ’em suddenly, and either wipe
But one swig more, sweet madam! The stain off clear, or openly discover it. 15
beatrice Ay, tomorrow; Provide me wingèd warrants for the purpose.
We shall have time to sit by’t. Exit Servant [one way, at another] enter Tomazo
diaphanta Now I’m sad again. See, I am set on again.
beatrice [aside] tomazo
120 It lays itself so gently too.—Come, wench, I claim a brother of you.
Most honest Diaphanta I dare call thee now. vermandero You’re too hot;
diaphanta Seek him not here.
Pray tell me, madam, what trick call you this? tomazo Yes, ’mongst your dearest bloods,
beatrice I’ll tell thee all hereafter. We must If my peace find no fairer satisfaction; 20
Study the carriage of this business. This is the place must yield account for him,
diaphanta For here I left him, and the hasty tie
125 I shall carry’t well, because I love the burden. Of this snatched marriage gives strong testimony
beatrice Of his most certain ruin.
About midnight you must not fail to steal forth gently, vermandero Certain falsehood!
That I may use the place. This is the place indeed. His breach of faith 25
diaphanta O fear not, madam: Has too much marred both my abusèd love—
I shall be cool by that time. [Aside] The bride’s place, The honourable love I reserved for him—
And with a thousand ducats! I’m for a justice now; And mocked my daughter’s joy. The prepared morn-
130 I bring a portion with me. I scorn small fools. ing
Exeunt Blushed at his infidelity. He left
Contempt and scorn to throw upon those friends 30
4.2 Enter Vermandero and Servant Whose belief hurt ’em. O, ’twas most ignoble
vermandero To take his flight so unexpectedly,
I tell thee knave, mine honour is in question— And throw such public wrongs on those that loved
A thing till now free from suspicïon— him.
Nor ever was there cause. tomazo
Who of my gentlemen are absent? Then this is all your answer?

113 Which most concerns it whom it most
concerns
114 Just correct
115 circumscribed pre-ordained, bound to
this exact order
accident incident; here ‘symptom’
119 sit by’t spend as much time with it as
we desire
120 lays itself allays, subsides
121 honest chaste
125 carry’t well (a) carry off the busi-
ness successfully (b) bear the weight
(‘burden’, l. 125) of Alsemero
127 use assume, get into
128 cool i.e. sexually spent
129 for a justice i.e. wealthy enough to
marry a judge
130 portion marriage portion, dowry
small fools (a) socially inferior men
(b) men less foolish than judges (com-
pare 1.2.134 above, and note)
4.2.8 Briamata In this play’s source,
Briamata is a house ten leagues from
Alicante.
12 answer faithfully account trustfully for
13 command of apprehensïon order for their
arrest
15 discover reveal
17 set on again harassed once more (a
metaphor from animal baiting; compare
2.1.81–2 above, and notes)
19 bloods relatives, or young men (also,
with the following lines, ‘the blood your
family and you will shed’)
20 peace i.e. peace of mind
satisfaction a technical term, meaning
recompense for the dishonour I have
received
23 snatched overly hasty. Tomazo is a type
of the avenger in the Elizabethan revenge
play. See Hamlet 1.2.177–80.
24 Certain falsehood i.e. that of Alonzo de
Piracquo (whom Vermandero believes
has voluntarily absconded from the
castle)
28 prepared morning morning appointed for
the wedding ceremony
29 Blushed with play on the natural ‘blush’
of sunrise
31 Whose . . . ’em who were hurt by trusting
him too much

1663
 Act 4 Scene 2 The Changeling.

vermandero ’Tis too fair He’ll bring it out in time, I’m assured on’t.
35 For one of his alliance; and I warn you O, here’s the glorious master of the day’s joy. 60
That this place no more see you. ’Twill not be long till he and I do reckon.
Exit Vermandero one way, at another enter De Flores Enter Alsemero
tomazo [aside] The best is, Sir!
There is more ground to meet a man’s revenge on.— alsemero
Honest De Flores! You are most welcome.
de flores That’s my name indeed. tomazo You may call that word back:
Saw you the bride? Good sweet sir, which way took I do not think I am, nor wish to be.
she? alsemero
tomazo ’Tis strange you found the way to this house then.
40 I have blessed mine eyes from seeing such a false one. tomazo [aside]
de flores [aside] Would I’d ne’er known the cause!—I’m none of
I’d fain get off; this man’s not for my company. those, sir, 65
I smell his brother’s blood when I come near him. That come to give you joy, and swill your wine:
tomazo ’Tis a more precious liquor that must lay
Come hither, kind and true one. I remember The fiery thirst I bring.
My brother loved thee well. alsemero Your words and you
de flores O purely, dear sir. Appear to me great strangers.
45 [Aside] Methinks I am now again a-killing on him; tomazo Time and our swords
He brings it so fresh to me. May make us more acquainted. This the business: 70
tomazo Thou canst guess, sirrah I should have a brother in your place.
(One honest friend has an instinct of jealousy) How treachery and malice have disposed of him,
At some foul guilty person? I’m bound to enquire of him which holds his right,
de flores ’Las, sir: Which never could come fairly.
I am so charitable, I think none alsemero You must look
50 Worse than myself—You did not see the bride, then? To answer for that word, sir.
tomazo tomazo Fear you not; 75
I prithee name her not. Is she not wicked? I’ll have it ready drawn at our next meeting.
de flores Keep your day solemn. Farewell; I disturb it not.
No, no, a pretty, easy, round-packed sinner, I’ll bear the smart with patience for a time. Exit
As your most ladies are, else you might think alsemero
I flattered her; but sir, at no hand wicked, ’Tis somewhat ominous this, a quarrel entered
55 Till they’re so old their chins and noses meet, Upon this day. My innocence relieves me, 80
And they salute witches. I am called, I think, sir. Enter Jasperino
[Aside] His company e’en o’erlays my conscience. I should be wondrous sad else.—Jasperino!
Exit I have news to tell thee, strange news.
tomazo jasperino I ha’ some too,
That De Flores has a wondrous honest heart; I think as strange as yours; would I might keep

35 alliance family sinner’ way to this house (i.e. his brother’s

37 There . . . on (a) this insult I’ve just
received gives further grounds to justify
my revenge (b) there are other places
(‘more ground’) where I can exact my
vengeance
38 Honest at this time, a word of multiple
meanings and resonances—compare
‘honest Iago’ in Othello
40 I have . . . one I have prayed that my eyes
might be prevented from seeing one so
false as Beatrice.
47 jealousy suspicion, apprehension
49–50 I . . . myself De Flores’s speech is laden
with ironic meaning.
52 easy easily persuaded, tractable; with
hint of sexual availability
round-packed sinner one who is sur-
rounded (‘round-packed’) by sin; with
suggestion also of ‘voluptuously shaped
53 your most most of your
55–6 Till . . . salute witches De Flores
describes toothless old crones who
(a) hail or (b) bring bad luck to (‘salute’)
witches by kiss, word, other physical
gesture, or merely their presence—
perhaps just from the growing together
of their ‘chins and noses’.
57 o’erlays lays heavy upon, oppresses
59 bring it out (a) reveal the truth (compare
5.3.98–9) (b) reveal the contents of his
heart
60 the glorious . . . joy i.e. the bridegroom
(ironic: it is the wedding day of Beatrice
and Alsemero)
61 reckon come to an accounting of or
understanding about (i.e. through a duel)
what Alsemero has done
65 the cause the reason he has found his
disappearance)
67 precious liquor i.e. (Alsemero’s) blood
68–9 Your . . . strangers (a) I have neither
seen you before nor know what you
mean (b) what you are saying appears
unsuited to your rank
73 which holds his right who has usurped
his place, what is rightfully his
74 Which . . . fairly which could never have
been achieved legitimately, justly
76 I’ll . . . drawn (a) I’ll have the contract
between us drawn up (b) I’ll have my
sword out of its sheath
77 solemn ceremoniously (hence undis-
turbed)
79 ominous continuing the superstition with
which Alsemero began the play: compare
1.1.2

1664
 The Changeling. Act 4 Scene 2

Mine, so my faith and friendship might be kept in’t! And prithee do not weigh me by my passions. 110
85 Faith sir, dispense a little with my zeal jasperino
And let it cool in this. I never weighed friend so.
alsemero This puts me on, alsemero Done charitably. [He gives a key]
And blames thee for thy slowness. That key will lead thee to a pretty secret,
jasperino All may prove nothing; By a Chaldean taught me, and I’ve spent
Only a friendly fear that leapt from me, sir. My study upon some. Bring from my closet
alsemero A glass inscribed there with the letter M, 115
No question it may prove nothing: let’s partake it And question not my purpose.
though. jasperino It shall be done, sir.
jasperino Exit
90 ’Twas Diaphanta’s chance—for to that wench alsemero
I pretend honest love, and she deserves it— How can this hang together? Not an hour since,
To leave me in a back part of the house, Her woman came pleading her lady’s fears,
A place we chose for private conference. Delivered her for the most timorous virgin
She was no sooner gone, but instantly That ever shrunk at man’s name, and so modest, 120
95 I heard your bride’s voice in the next room to me; She charged her weep out her request to me,
And, lending more attention, found De Flores
That she might come obscurely to my bosom.
Louder than she.
Enter Beatrice
alsemero De Flores? Thou art out now.
beatrice [aside]
jasperino
All things go well. My woman’s preparing yonder
You’ll tell me more anon.
For her sweet voyage, which grieves me to lose.
alsemero Still, I’ll prevent thee:
The very sight of him is poison to her. Necessity compels it: I lose all else. 125
jasperino alsemero [aside]
100 That made me stagger too, but Diaphanta Push! Modesty’s shrine is set in yonder forehead.
At her return confirmed it. I cannot be too sure, though.—My Joanna!
alsemero Diaphanta! beatrice
jasperino Sir, I was bold to weep a message to you;
Then fell we both to listen, and words passed Pardon my modest fears.
Like those that challenge interest in a woman. alsemero [aside] The dove’s not meeker:
alsemero She’s abused, questionless.—
Peace! Quench thy zeal! ’Tis dangerous to thy bosom. Enter Jasperino [with phial]
jasperino O, are you come, sir? 130
Then truth is full of peril. beatrice [aside]
105 alsemero Such truths are.— The glass, upon my life! I see the letter.
O, were she the sole glory of the earth, jasperino
Had eyes that could shoot fire into kings’ breasts, Sir, this is M.
And touched, she sleeps not here! Yet I have time, alsemero ’Tis it.
Though night be near, to be resolved hereof; beatrice [aside] I am suspected.

84 so provided 103 challenge interest (a) lay claim to outbursts

85 dispense a little with pardon
86 in i.e. in light of
puts me on whets me on
89 No question . . . though certainly it will
turn out to be nothing—yet let’s hear it.
(Alsemero’s asperity shows his resistance
to what he senses Jasperino is about to
tell him.)
91 pretend make, offer (with no sense of
deception or falsity)
97 out wide of the mark
98 You’ll . . . anon you’ll be even more angry
when you hear fully what I have to tell
prevent anticipate (and thus forestall)
100 stagger (a) to reel, totter (b) to begin
to doubt or waver in opinion, to become
less confident or determined (OED v. 2).
(i.e. De Flores’s words lay a claim of
his own to Beatrice; compare OED v. 5,
and 3.4.141 above) (b) call in question,
dispute (the words disputed Alsemero’s
claim to (his ‘interest’ in) Beatrice;
compare OED v. 4). The effect of both
readings is the same.
104 ’Tis . . . bosom i.e. you’re risking death
for speaking such slander
105 Then . . . are Jasperino stoically says that
the truth is to be told no matter what
the personal risk. Alsemero answers an-
grily that ‘truths’ like this are dangerous
because they are lies.
108 touched tainted, corrupted
110 weigh me by my passions judge
my value as a man by my passionate
111 Done (you have) acted
113 Chaldean here an epithet for one es-
pecially learned in the quasi-scientific
experiments which Alsemero admires;
in Daniel 2:2 ff., used as an occupa-
tional description alongside ‘magicians’,
‘astrologers’, and ‘sorcerers’
114 some i.e. secrets
119 Delivered her for represented her as
121 charged her commanded Diaphanta to
122 she i.e. Beatrice
obscurely in darkness (Beatrice has by
this time arranged for the ‘bed-trick’)
128 I . . . you I earlier sent a tearful message
to you (via Diaphanta; compare ll. 117–
22)
131 the letter i.e. M

1665
 Act 4 Scene 2 The Changeling.

alsemero Enter Isabella [with a letter,] and Lollio 4.3

How fitly our bride comes to partake with us! isabella [aside, as she reads]
[He offers a glass] O heaven! Is this the waning moon?
beatrice Does love turn fool, run mad, and all at once?—
What is’t, my lord? Sirrah, here’s a madman, akin to the fool too—
alsemero No hurt. A lunatic lover.
beatrice Sir, pardon me: lollio No, no, not he I brought the letter from. 5
135 I seldom taste of any composition. isabella [giving letter]
alsemero Compare his inside with his out, and tell me.
But this, upon my warrant, you shall venture on. lollio The out’s mad, I’m sure of that; I had a taste on’t.
[He gives her the glass] [He reads] ‘To the bright Andromeda, chief chamber-
beatrice maid to the Knight of the Sun, at the sign of Scorpio,
I fear ’twill make me ill. in the middle region, sent by the bellows-mender of 10
alsemero Heaven forbid that. Aeolus. Pay the post.’ This is stark madness.
beatrice [aside] isabella Now, mark the inside.
I’m put now to my cunning; th’effects I know, [She takes the letter from Lollio and reads]
If I can now but feign ’em handsomely. [She drinks] ‘Sweet lady, having now cast off this counterfeit cover
alsemero [aside to Jasperino]
of a madman, I appear to your best judgement a true
140 It has that secret virtue it ne’er missed, sir,
and faithful lover of your beauty.’ 15
Upon a virgin.
lollio He is mad still.
jasperino Treble-qualitied?
isabella ‘If any fault you find, chide those perfections in
[Beatrice gapes, then sneezes]
alsemero you, which have made me imperfect: ’tis the same sun
By all that’s virtuous, it takes there, proceeds! that causeth to grow, and enforceth to wither—’
jasperino lollio O rogue! 20
This is the strangest trick to know a maid by. isabella ‘—shapes and trans-shapes, destroys and builds
beatrice Ha, ha, ha! again. I come in winter to you dismantled of my proper
145 You have given me joy of heart to drink, my lord. ornaments; by the sweet splendour of your cheerful
alsemero smiles, I spring and live a lover.’
No, thou hast given me such joy of heart, lollio Mad rascal still! 25
That never can be blasted. isabella ‘Tread him not under foot that shall appear an
beatrice What’s the matter, sir? honour to your bounties. I remain mad till I speak with
alsemero [to Jasperino] you, from whom I expect my cure. Yours all, or one
See, now ’tis settled in a melancholy; beside himself, Franciscus.’
Keeps both the time and method. [He crosses to Be- lollio You are like to have a fine time on’t. My master 30
atrice] My Joanna: and I may give over our professions; I do not think but
150 Chaste as the breath of heaven, or morning’s womb, you can cure fools and madmen faster than we—with
That brings the day forth; thus my love encloses thee. little pains too.
[He embraces her, and] Exeunt isabella Very likely.

134 What is’t i.e. what is this you’d have
me drink?
135 composition compound, such as
medicine or drink
140 It has . . . missed it has so secret a
property or power (‘virtue’) that it has
never failed
141 Treble-qualitied? with three effects?
142 virtuous (a) efficacious (b) chaste
149 time and method pace and quality (of
the drink’s effects)
4.3.1 waning moon Isabella may mean
that the ‘lunatic’ (l. 4) activity in the
hospital changes with time (i.e. the more
she learns about it), even as the moon
does when it wanes.
3 here’s referring to Franciscus within, as
author of this letter
6 inside . . . out (a) what it says on the
outside of the envelope in contrast
to what the letter itself says (b) his
appearance and behaviour versus his real
self
7 out’s outside (indicating the name and
superscription) is
8–11 Andromeda . . . Aeolus more of
Franciscus’s classical references, perhaps
made superficially meaningless to prevent
Lollio from reading the inside
8 Andromeda in mythology, the beloved of
Perseus, who rescued her from the rock
to which she had been bound as sacrifice
to a sea monster
9 Scorpio a sign of the zodiac, governing
the genitals
10 middle region astronomically, the region
governing the year’s middle months,
but with bawdy quibble on the ‘middle
region’ of the body = the genital area
10–11 bellows-mender of Aeolus In myth-
ology, Aeolus was god of the winds; fol-
lowing ‘middle region’, ‘bellows-mender’
may be a bawdy quibble, gathering both
‘bellies’ and ‘billows’ (compare ll. 121–2
and note).
11 Pay the post i.e. ‘postage due’; a deliber-
ately bathetic close to the salutation
21 trans-shapes metamorphoses
22 dismantled stripped
24 spring grow, with pun on the season
(compare ‘in winter’, l. 22)

1666
 The Changeling. Act 4 Scene 3

35 lollio One thing I must tell you, mistress: you perceive lollio You need not fear, sir; so long as we are there
that I am privy to your skill. If I find you minister once with our commanding pizzles, they’ll be as tame as the 65
and set up the trade, I put in for my thirds. I shall be ladies themselves.
mad or fool else. alibius
isabella I will see them once more rehearse before they go.
The first place is thine, believe it, Lollio, lollio I was about it, sir: look you to the madmen’s
40 If I do fall— morris, and let me alone with the other; there is one or
lollio I fall upon you. two that I mistrust their fooling. I’ll instruct them, and 70
isabella So. then they shall rehearse the whole measure.
lollio Well, I stand to my venture. alibius
isabella Do, do; I’ll see the music prepared. But Lollio—
But thy counsel now: how shall I deal with ’em? By the way, how does my wife brook her restraint?
45 lollio Why, do you mean to deal with ’em? Does she not grudge at it?
isabella lollio So so. She takes some pleasure in the house, she 75
Nay, the fair understanding: how to use ’em. would abroad else. You must allow her a little more
lollio Abuse ’em! That’s the way to mad the fool, and length: she’s kept too short.
make a fool of the madman, and then you use ’em alibius
She shall along to Vermandero’s with us;
kindly.
That will serve her for a month’s liberty.
isabella
lollio What’s that on your face, sir? 80
50 ’Tis easy: I’ll practise. Do thou observe it;
alibius
The key of thy wardrobe.
Where, Lollio? I see nothing.
lollio There, fit yourself for ’em, and I’ll fit ’em both for lollio Cry you mercy, sir: ’tis your nose; it showed like
you. [He gives a key] the trunk of a young elephant.
isabella alibius
Take thou no further notice than the outside. Exit Away, rascal! I’ll prepare the music, Lollio. Exit
55 lollio [after her] Not an inch. I’ll put you to the inside. lollio Do, sir, and I’ll dance the whilst. Tony, where art 85
Enter Alibius thou, Tony?
alibius Enter Antonio
Lollio, art there? Will all be perfect, think’st thou? antonio Here, cousin; where art thou?
Tomorrow night, as if to close up the solemnity, lollio Come, Tony: the footmanship I taught you.
Vermandero expects us. antonio I had rather ride, cousin.
lollio I mistrust the madmen most; the fools will do well lollio Ay, a whip take you; but I’ll keep you out. Vault 90
60 enough: I have taken pains with them. in; look you, Tony: [He sings and dances] fa, la, la, la,
alibius la.
Tush, they cannot miss; the more absurdity, antonio [imitating him] Fa, la, la, la, la.
The more commends it, so no rough behaviours lollio There, an honour.
Affright the ladies; they are nice things, thou know’st. antonio Is this an honour, coz? [He bows] 95

36 I am privy to (a) I recognize (b) I share
36–7 If . . . thirds Lollio says, literally, that
if Isabella ever sets up in the business
of curing (see ‘minister’) madmen, he
wants a ‘third’ share, but the subtext of
‘the trade’ as whoring—an exaggeration
of Isabella’s potential infidelity—is too
strong for her to miss. (Compare De
Flores at 2.2.60, ‘I’ll put in for one’.)
41 I fall upon you Lollio responds with
coarse wordplay to Isabella’s suggestion,
‘If I do fall’, in l. 40. He will leap upon
her.
43 I stand to sexual wordplay: (a) I stand by
(b) I will be sexually aroused
45 deal with ’em Lollio deliberately inter-
prets Isabella’s remark sexually.
46 Nay . . . ’em i.e. nay, interpret my
meaning charitably: I meant I will make
use of them, not deal sexually with them.
47 Abuse Deceive
49 kindly (a) tenderly (b) according to their
‘kind’, as they deserve
50 practise (a) rehearse (i.e. theatrically)
(b) act cunningly, scheme
52 fit make ready, but with suggestive
wordplay: ‘get yourself ready for these
men, and I’ll match you with them’.
54 Take . . . outside (a) don’t pry into this
affair; take it at face value (b) notice
only the disguise I’ll be wearing, not the
person underneath
55 put you to the inside (a) get special
access or accommodations for you
(b) arrange it so that I or others can
have sex with you
57 close . . . solemnity provide a finale for the
wedding festivities
63 nice delicate, fastidious
65 pizzles whips made from dried bull
penises (with obvious bawdy play on the
‘pizzles’ taming the ‘ladies’)
69 morris a festive dance sometimes put
on for money during this period; here
perhaps used generally, to refer to a
group dance.
69–70 one or two i.e. Antonio and Francis-
cus
71 measure dance
77 short i.e. on too short a leash, with
obvious bawdy undertones on Alibius’s
sexual inadequacy as a husband
79 liberty (a) freedom (b) lack of sexual
restraint
82 Cry you mercy I beg your pardon
82–3 nose . . . elephant an insulting sugges-
tion that Alibius has a big nose, with
a cuckold joke (where nose = horn) at
Alibius’s expense. To ‘put one’s nose out
of joint’ was to cuckold him.
90 out i.e. out of those bad habits; with
secondary meaning of: keep you away
from Isabella
94 honour a curtsy, bow

1667
 Act 4 Scene 3 The Changeling.

lollio [returning bow] Yes, an it please your worship. isabella

antonio Does honour bend in the hams, coz? Why shouldst thou mount so high as Mercury, 125
lollio Marry, does it; as low as worship, squireship— Unless thou hadst reversion of his place?
nay, yeomanry itself sometimes, from whence it first Stay in the moon with me, Endymion, [She touches
100 stiffened. There, rise: a caper. him]
antonio Caper after an honour, coz? And we will rule these wild rebellious waves
lollio Very proper; for honour is but a caper, rises as fast That would have drowned my love.
and high, has a knee or two, and falls to th’ ground antonio I’ll kick thee if again thou touch me, 130
again. You can remember your figure, Tony? Exit Thou wild unshapen antic; I am no fool,
105 antonio Yes, cousin, when I see thy figure, I can remem- You bedlam.
ber mine. isabella [rising]
Enter Isabella [like a madwoman] But you are, as sure as I am—mad.
isabella Hey, how she treads the air: Shoo! shoo! t’other Have I put on this habit of a frantic,
way! He burns his wings else. [She pulls Antonio down] With love as full of fury, to beguile
Here’s wax enough below, Icarus, more than will be The nimble eye of watchful jealousy 135
110 cancelled these eighteen moons. And am I thus rewarded? [She reveals herself ]
[She rises, (singing)] He’s down, he’s down, antonio
What a terrible fall he had! Ha! Dearest beauty—
Stand up, thou son of Cretan Dedalus, isabella No, I have no beauty now,
And let us tread the lower labyrinth; Nor never had, but what was in my garments.
115 I’ll bring thee to the clue. [She raises him] You, a quick-sighted lover? Come not near me.
antonio Keep your caparisons; you’re aptly clad, 140
Prithee, coz, let me alone. I came a feigner to return stark mad. Exit
isabella Art thou not drowned? Enter Lollio
About thy head I saw a heap of clouds antonio [after Isabella] Stay, or I shall change condition,
Wrapped like a Turkish turban; on thy back, [She And become as you are.
touches him] lollio Why, Tony, whither now? Why, fool?
A crook’d chameleon-coloured rainbow hung antonio
120 Like a tiara down unto thy hams. [She kneels] Whose fool, usher of idiots? You coxcomb! 145
Let me suck out those billows in thy belly; I have fooled too much.
Hark how they roar and rumble in the straits! lollio You were best be mad another while then.
Bless thee from the pirates. antonio
antonio [pulling free] Pox upon you! Let me alone. So I am, stark mad; I have cause enough,

98 Marry, does it i.e. by (the Virgin) Mary it
does
98–9 low as . . . sometimes i.e. as low as
these degrees of society traditionally bow
to their social superiors
99 yeomanry compare the bawdy pun (on
the vagina) by Jaques, played by Rowley,
in All’s Lost by Lust 1.3.14–15.
100 stiffened (a) grew rigid—perhaps with
play on making rigid with starch, as
in the starched ruffs and collars of the
aristocracy (see OED v. 1) (b) assumed a
permanent character (OED v. 2b, though
not attested until 1697) (c) with bawdy
pun on ‘yeomanry’ (see previous note)
caper leap
102–4 honour . . . again honour is something
insubstantial (like a jump or energetic
dance step): it goes up, then it goes
down
104 figure (dance) routine; also: visage,
physiognomy
105–6 when . . . mine when I see how foolish
you are, it’s easy for me to remember
how to be a fool
107–29 Isabella parodies Franciscus’s
learned nonsense, but in doing so
stresses: a myth of male arrogance
(Icarus, who flew too close to the sun,
ll. 107 ff.); one in which a male hero de-
pends on a woman to help him (Theseus
and Ariadne, ll. 114–15); and one in
which a goddess (Selene, the Moon, ll.
127–9) effectively feminizes an attractive
man (Endymion) for her enjoyment.
109–10 wax . . . cancelled to ‘cancel’ was to
obliterate or otherwise damage (OED v.
1a, b); punning on the waxen wings of
Icarus, Isabella refers to the wax seals of
legal bonds or deeds which come to grief
in the human society ‘below’ Icarus
115 clue literally, the secret thread which
led Theseus out of Minos’s labyrinth; but
with obvious bawdy undertones.
117–20 About thy head . . . thy hams Isa-
bella describes a (flying) Icarus touched
by clouds and a rainbow. In Greek
mythology, Icarus was given wings of
feathers and wax with which to escape
from where Minos, king of Crete, had
imprisoned him with his father, the
inventor Dedalus (compare l. 113). En-
joying the powers of flight, Icarus flew
too close to the sun, which melted his
wings and plunged him into the ocean.
120 tiara ceremonial headdress
hams knee-joints
121 suck out . . . belly drain the (sea) water
that drowned you (with an innuendo of
oral sex: as Daalder points out, ‘billows’
was often a homonym for ‘bellows’ =
penis: see 4.3.10–11 and note)
125–6 Why . . . place? (a) why should you fly
as high as Mercury unless you had claim
to his role? (b) why should you take the
sexual place (with play on ‘Mount’) of
my husband unless you had legitimate
claim to it?
126 reversion of claim to
131 antic grotesque figure, clown
133 habit costume
frantic mad person
140 caparisons rags, rough cloth
141 I came . . . mad i.e. I came in pre-
tending to be a madwoman, but now I
leave maddened and angered by your
foolishness.
143 as you are i.e. actually mad (from
unrequited love)
145 usher keeper
coxcomb fool
147 another while a different time

1668
 The Changeling. Act 4 Scene 3

And I could throw the full effects on thee, lollio Your destiny, sir: you’ll be hanged for this trick,
150 And beat thee like a fury! and another that I know.
lollio Do not, do not: I shall not forbear the gentleman franciscus Art thou of counsel with thy mistress?
under the fool, if you do. Alas, I saw through your lollio Next her apron strings. 185
fox-skin before now. Come, I can give you comfort: my franciscus Give me thy hand.
mistress loves you, and there is as arrant a madman lollio Stay, let me put yours in my pocket first. [He puts
155 i’th’ house as you are a fool—your rival, whom she up letter] Your hand is true, is it not? It will not pick? I
loves not. If after the masque we can rid her of him, partly fear it, because I think it does lie.
you earn her love, she says, and the fool shall ride her. franciscus Not in a syllable. 190
antonio May I believe thee? lollio So, if you love my mistress so well as you have
lollio Yes, or you may choose whether you will or no. handled the matter here, you are like to be cured of
antonio your madness.
160 She’s eased of him; I have a good quarrel on’t. franciscus And none but she can cure it.
lollio Well, keep your old station yet, and be quiet. lollio Well, I’ll give you over then, and she shall cast 195
antonio your water next.
Tell her I will deserve her love. franciscus [giving money] Take for thy pains past.
lollio And you are like to have your desire. lollio I shall deserve more, sir, I hope. My mistress loves
[Exit Antonio one way.] Enter [at another] you, but must have some proof of your love to her.
Franciscus franciscus There I meet my wishes. 200
franciscus [singing] lollio That will not serve; you must meet her enemy and
Down, down, down a-down a-down. yours.
165 And then with a horse-trick franciscus He’s dead already.
To kick Latona’s forehead, lollio Will you tell me that, and I parted but now with
And break her bowstring. him? 205
lollio [aside] This is t’other counterfeit: I’ll put him out franciscus Show me the man.
of his humour.—[He retrieves the letter and reads] ‘Sweet lollio Ay, that’s a right course now. See him before you
170 lady, having now cast off this counterfeit cover of a kill him in any case, and yet it needs not go so far,
madman, I appear to your best judgement a true and neither: ’tis but a fool that haunts the house—and my
faithful lover of your beauty.’ This is pretty well for a mistress—in the shape of an idiot. Bang but his fool’s 210
madman. coat well-favouredly, and ’tis well.
franciscus Ha! What’s that? franciscus Soundly, soundly!
175 lollio ‘Chide those perfections in you which have made lollio Only, reserve him till the masque be past, and if
me imperfect.’ you find him not now in the dance yourself, I’ll show
franciscus [aside] I am discovered to the fool. you. In, in! My master! 215
lollio [aside] I hope to discover the fool in you, ere I Enter Alibius
have done with you.—‘Yours all, or one beside himself, franciscus He handles him like a feather. Hey!
180 Franciscus.’ This madman will mend, sure. [Exit, dancing]
franciscus What do you read, sirrah? alibius Well said! In a readiness, Lollio?

151–2 I shall not . . . fool I will not spare you
for the gentleman you are under your
disguise of fool.
153 fox-skin disguise—foxes were proverbi-
ally wily
157 ride (a) control, enjoy (b) have sex with
160 She’s . . . on’t she can forget about him;
he’s as good as dead (I have a good
excuse to pick a quarrel with him and
do him in)
161 old station disguise as a fool
163 And . . . desire with ironic double
meaning: (a) you’re in a fair way to
being favoured with her love (b) you’re
going to get what’s coming to you
164 Down, down a burden or refrain
common to several popular ballads
165–7 horse-trick . . . bowstring on the
surface, mad nonsense. But a ‘horse
trick’ was an energetic dance step or
kick, and Franciscus perhaps puns
bawdily as well. Latona (Greek, ‘Leto’)
is here probably an epithet for the chaste
Artemis/Diana, who, as a hunter, used a
bow.
177–8 discovered . . . discover wordplay:
revealed in my identity . . . uncover,
expose
183 another that I know Lollio perhaps
knows of the warrant issued for their
arrest.
184 of counsel with a confidant of
186–7 hand . . . yours Lollio puns in response
to Franciscus’s offering of a handshake
with a jest about the hand that picks
pockets. If he puts Franciscus’s ‘hand’
((handwritten) letter) in his pocket,
won’t that hand pick his pocket?
188 true honest
pick pick pockets
192–3 you are like . . . madness Lollio puns:
(a) you’re likely to be cured by obtaining
your wish, the lack of which has driven
you mad (b) you’re likely to be cured by
not getting her at all, which will remove
the cause of your distemper. Franciscus’s
reply indicates he hears only the first, as
Lollio intends.
195–6 cast your water (a) diagnose your
urine, acting as your doctor to cure you
(b) throw it and you away, throw you
over (c) make you ejaculate (compare
2.2.83, 4.1.36 and notes)
201–2 her enemy and yours i.e. Antonio
203 He’s dead already he’s as good as dead
204–5 Will . . . him? Lollio jokingly takes
Franciscus literally: Here you tell me he’s
already dead; why have I just seen him
alive?
217 Well said! Well done!

1669
 Act 4 Scene 3 The Changeling.

lollio Yes, sir. Who’d trust a waiting-woman?

alibius beatrice I must trust somebody. 15
Away then, and guide them in, Lollio; de flores Push! They are termagants,
220 Entreat your mistress to see this sight. Especially when they fall upon their masters
Hark, is there not one incurable fool And have their ladies’ first-fruits. They’re mad whelps;
That might be begged? I have friends. You cannot stave ’em off from game royal then.
lollio [exiting] You are so harsh and hardy, ask no counsel, 20
I have him for you, one that shall deserve it too. And I could have helped you to a pothecary’s daugh-
[Enter Isabella, then Lollio with Madmen and ter
Fools] Would have fall’n off before eleven, and thanked you
alibius Good boy, Lollio. too.
The Madmen and Fools dance [to music] beatrice
225 ’Tis perfect; well, fit but once these strains, O me, not yet? This whore forgets herself.
We shall have coin and credit for our pains. Exeunt de flores
Finis Actus Quartus The rascal fares so well. Look, you’re undone:
The day-star, by this hand! See Phosphorus plain
 yonder. 25
beatrice
5.1 Incipit Actus Quintus Advise me now to fall upon some ruin,
Enter Beatrice. A clock strikes one There is no counsel safe else.
beatrice de flores Peace, I ha’t now:
One struck, and yet she lies by’t.—O my fears! For we must force a rising, there’s no remedy.
This strumpet serves her own ends, ’tis apparent now, beatrice
Devours the pleasure with a greedy appetite, How? Take heed of that.
And never minds my honour or my peace, de flores Tush, be you quiet,
5 Makes havoc of my right; but she pays dearly for’t, Or else give over all.
No trusting of her life with such a secret, beatrice Prithee, I ha’ done then. 30
That cannot rule her blood to keep her promise. de flores
Beside, I have some suspicion of her faith to me, This is my reach: I’ll set some part a-fire
Because I was suspected of my lord, Of Diaphanta’s chamber.
10 And it must come from her.—Hark! By my horrors: beatrice How? Fire, sir?
Strike two That may endanger the whole house!
Another clock strikes two. de flores
Enter De Flores You talk of danger when your fame’s on fire?
de flores Pist! Where are you? beatrice
beatrice That’s true; do what thou wilt now.
De Flores? de flores Push! I aim 35
de flores Ay—Is she not come from him yet? At a most rich success strikes all dead sure;
beatrice As I am a living soul, not. The chimney being a-fire, and some light parcels
de flores Of the least danger in her chamber only;
Sure the devil hath sowed his itch within her. If Diaphanta should be met by chance then,

221–2 is there . . . friends Alibius asks if
there isn’t an incurable fool somewhere
they might ask for, to help in their
entertainment. But ‘begging’ a fool also
meant applying for legal guardianship of
an insane person: their guardians stood
to inherit or control any wealth which
the fools had coming to them.
223 I have him Lollio means Franciscus
225 strains strains of music
5.1.1 she i.e. Diaphanta (but see 5.1.67
below, and note)
9 of by
10 And it . . . from her i.e. Diaphanta must be
the source of this damning information.
10.1 Strike two probably an imperative,
directing a stage hand to ‘strike two’ on
a gong or bell
16 termagants Termagant was thought
to be a violent, blustering god of the
Muslims. This word came to mean ‘an
overbearing, quarrelsome woman’ (OED
2b).
18 first-fruits first produce of the year (thus
the property of a privileged few), with
innuendo of ‘taking their virginity’
18–19 mad whelps . . . royal i.e. they are
like young dogs that disobey commands
to leave animals owned by the mon-
arch alone (‘game royal’ has a sexual
suggestion as well)
20 harsh and hardy rash and daring
25 Phosphorus the ‘daystar’, the planet
Venus which appeared before the sun in
the morning
26 fall upon some ruin come across some
desperate plan
28 force a rising make it necessary for
everyone to get out of bed
31 reach plan
34 fame’s reputation’s
36 success outcome
strikes all dead sure i.e. (which) makes
everything a dead certainty; with omin-
ous overtones
37–8 light . . . only some small things (least
likely to produce a large fire) in her
lodgings alone

1670
 The Changeling. Act 5 Scene 1

40 Far from her lodging—which is now suspicious— But look upon his care, who would not love him? 70
It would be thought her fears and affrights then The east is not more beauteous than his service.
Drove her to seek for succour; if not seen voices (within) Fire! Fire! Fire!
Or met at all (as that’s the likeliest), Enter De Flores, Servants
For her own shame she’ll hasten towards her lodging. de flores
45 I will be ready with a piece high-charged, Away, dispatch! Hooks, buckets, ladders!
As ’twere to cleanse the chimney: there ’tis proper [The Servants] pass over. Ring a bell
now, That’s well said.
But she shall be the mark. The fire-bell rings, the chimney works, my charge;
beatrice I’m forced to love thee now, The piece is ready. 75
’Cause thou provid’st so carefully for my honour. Exit [De Flores, one way.]
de flores Enter [at another] Diaphanta
’Slid, it concerns the safety of us both, beatrice
Our pleasure and continuance. Here’s a man worth loving.—[To Diaphanta] O, you’re
50 beatrice One word now, prithee. a jewel.
How for the servants? diaphanta Pardon frailty, madam;
de flores I’ll dispatch them, In troth I was so well I e’en forgot myself.
Some one way, some another in the hurry beatrice
For buckets, hooks, ladders. Fear not you. You’ve made trim work.
The deed shall find its time, and I’ve thought since diaphanta What?
55 Upon a safe conveyance for the body too. beatrice Hie quickly to your chamber:
How this fire purifies wit! Watch you your minute. Your reward follows you.
beatrice diaphanta I never made 80
Fear keeps my soul upon’t, I cannot stray from’t. So sweet a bargain. Exit
Enter Alonzo’s ghost Enter Alsemero
de flores alsemero O my dear Joanna:
Ha! What art thou that tak’st away the light Alas, art thou risen too? I was coming,
’Twixt that star and me? I dread thee not! My absolute treasure.
60 ’Twas but a mist of conscience. All’s clear again. beatrice
[Exit De Flores] When I missed you, I could not choose but follow.
beatrice alsemero
Who’s that, De Flores? Bless me! It slides by. Thou’rt all sweetness! The fire is not so dangerous. 85
[Exit ghost] beatrice
Some ill thing haunts the house; ’t’as left behind it Think you so, sir?
A shivering sweat upon me: I’m afraid now. alsemero I prithee, tremble not:
This night hath been so tedious. O this strumpet! Believe me, ’tis not.
65 Had she a thousand lives, he should not leave her Enter Vermandero, Jasperino
Till he had destroyed the last. vermandero
Struck three o’clock O bless my house and me!
List! O my terrors: alsemero [to Beatrice] My lord your father.
Three struck by Saint Sebastian’s. Enter De Flores with a piece
voices (within) Fire! Fire! Fire! vermandero
beatrice Knave, whither goes that piece?
Already? How rare is that man’s speed! de flores To scour the chimney.
How heartily he serves me! His face loathes one, Exit [another way]

40 suspicious unlikely, doubtful. De Flores
thinks it unlikely that Diaphanta will be
found far from her lodging; if she is, he’s
ready with a plausible story as to why
she would have been there.
45 piece high-charged gun, heavily loaded
48 honour The word expresses an uncon-
scious irony.
49 ’Slid an oath: by God’s eyelid
50 continuance (a) continued relationship
(b) survival.
54 The deed i.e. Diaphanta’s murder
65 he i.e. De Flores
67 Three struck by Saint Sebastian’s three
chimes from the bell tower of the local
church, which would sound the passing
hours
69 loathes is loathsome to
71 The east The rising sun and the Far East
were both associated with the beauty of
orient pearls.
73 well said well done, good
79 You’ve made trim work ironic:
(a) you’ve done a fine job (b) you’ve
had a fine time at your sexual pleasure
(where ‘trim work’ plays on the meaning
of ‘to trim’ = to copulate)
80 Your reward follows you grim comic
irony: (a) you’re about to receive your
reward for faithful service (b) you’ll get
what’s coming to you. Beatrice’s joke is
much like Lollio’s at 4.3.163.
84 I . . . follow ironically echoed at 5.3.108

1671
 Act 5 Scene 1 The Changeling.

90 vermandero O well said, well said! servant

That fellow’s good on all occasïons. All danger’s past. You may now take your rests,
beatrice My lords, the fire is throughly quenched.
A wondrous necessary man, my lord. Ah, poor gentlewoman, how soon was she stifled!
vermandero beatrice
He hath a ready wit. He’s worth ’em all, sir. De Flores, what is left of her inter, 120
Dog at a house of fire, I ha’ seen him singed ere now. And we as mourners all will follow her:
The piece goes off I will entreat that honour to my servant,
95 Ha, there he goes. E’en of my lord himself.
beatrice ’Tis done. alsemero Command it, sweetness.
alsemero beatrice
Come, sweet; to bed now. Alas, thou wilt get cold. Which of you spied the fire first?
beatrice Alas, the fear keeps that out. de flores ’Twas I, madam.
My heart will find no quiet till I hear beatrice
100 How Diaphanta, my poor woman, fares: And took such pains in’t too? A double goodness!— 125
It is her chamber, sir, her lodging chamber. ’Twere well he were rewarded.
vermandero How should the fire come there? vermandero He shall be.—
beatrice De Flores, call upon me.
As good a soul as ever lady countenanced, alsemero And upon me, sir.
But in her chamber negligent and heavy: Exeunt [all but De Flores]
She ’scaped a ruin twice. de flores
vermandero Twice? Rewarded? Precious, here’s a trick beyond me!
105 beatrice Strangely, twice, sir. I see in all bouts, both of sport and wit,
vermandero Always a woman strives for the last hit. Exit 130
Those sleepy sluts are dangerous in a house,
An they be ne’er so good. Enter Tomazo 5.2
Enter De Flores [with corpse of Diaphanta, tomazo
covered] I cannot taste the benefits of life
de flores O poor virginity! With the same relish I was wont to do.
Thou hast paid dearly for’t. Man I grow weary of, and hold his fellowship
vermandero Bless us! What’s that? A treacherous bloody friendship; and because
de flores I am ignorant in whom my wrath should settle, 5
A thing you all knew once: Diaphanta’s burnt. I must think all men villains, and the next
beatrice I meet—whoe’er he be—the murderer
My woman! O, my woman! Of my most worthy brother.
110 de flores Now the flames Enter De Flores, passes over the stage
Are greedy of her. Burnt, burnt, burnt to death, sir! Ha! What’s he?
beatrice O, the fellow that some call honest De Flores,
O my presaging soul! But methinks honesty was hard bestead 10
alsemero Not a tear more; To come there for a lodging, as if a queen
I charge you by the last embrace I gave you Should make her palace of a pest-house.
In bed before this raised us. I find a contrariety in nature
beatrice Now you tie me. Betwixt that face and me. The least occasion
115 Were it my sister now she gets no more. Would give me game upon him. Yet he’s so foul 15
Enter Servant One would scarce touch him with a sword he loved
vermandero How now? And made account of. So most deadly venomous,

94 Dog at keen, hot on the trail of—the
metaphor from dogs pursuing other
animals
of on
103 countenanced favoured
104 heavy sluggish
106 sluts servant women (no sexual sense
implied)
107 An . . . good be they ever so good
107–8 O poor virginity! . . . for’t De Flores
seems to be suggesting, publicly, that
Diaphanta has tempted the Fates too
much through the perfection of her
chastity; on another level, though, he
speaks of the ‘bargain’ her virginity has
led her to enter into with Beatrice.
112 O my presaging soul With some irony,
Beatrice pretends to have had intuition
of Diaphanta’s death (‘presaging’ =
prophetic). Compare Hamlet 1.5.41: ‘O
my prophetic soul!’
118 throughly thoroughly
128 here’s . . . beyond me i.e. she’s outdone
me; my pupil has outsmarted me as
her master in this kind of duplicity
(by arranging that both Alsemero and
Vermandero will now reward me for my
‘service’)
5.2.10 hard bestead poorly accommodated
(thus sorely pressed)
12 pest-house hospital for those with
infectious diseases (especially the plague)
15 give me game upon offer me a chance to
provoke
16 he i.e. the one who owns the sword

1672

He would go near to poison any weapon
That should draw blood on him—one must resolve
20 Never to use that sword again in fight,
In way of honest manhood, that strikes him;
Some river must devour’t, ’twere not fit
That any man should find it.
Enter De Flores
What, again?
He walks o’ purpose by, sure, to choke me up,
To infect my blood.
25 de flores My worthy noble lord!
tomazo
Dost offer to come near and breathe upon me? [He
strikes him]
de flores [drawing his rapier]
A blow?
tomazo Yea, are you so prepared?
I’ll rather like a soldier die by th’ sword
Than like a politician by thy poison. [He draws his
rapier]
de flores
30 Hold, my lord, as you are honourable.
tomazo
All slaves that kill by poison are still cowards.
de flores [aside]
I cannot strike. I see his brother’s wounds
Fresh bleeding in his eye, as in a crystal!—[He
sheathes rapier]
I will not question this: I know you’re noble.
35 I take my injury with thanks given, sir,
Like a wise lawyer; and as a favour
Will wear it for the worthy hand that gave it.
[Aside] Why this from him, that yesterday appeared
So strangely loving to me?
40 O, but instinct is of a subtler strain;
Guilt must not walk so near his lodge again.
He came near me now.
tomazo [sheathing rapier]
All league with mankind I renounce for ever,
Till I find this murderer. Not so much
45 As common courtesy but I’ll lock up:
For in the state of ignorance I live in,
A brother may salute his brother’s murderer.
And wish good speed to th’ villain in a greeting.
Enter Vermandero, Alibius, and Isabella
vermandero
Noble Piracquo!
tomazo Pray keep on your way, sir.
18 He De Flores
29 politician i.e. cunning plotter
33 crystal reflecting surface, such as a glass 46–7 For . . . murderer Tomazo speaks with
or ball, here used to see the past
35–6 I take . . . lawyer compare the proverb
‘A good lawyer must be a great liar’
(ODEP, p. 447)
36 favour see 1.1.235, note.
43 league alliance
44–5 Not so . . . lock up I’ll repress and avoid 56 will i.e. which will
The Changeling. Act 5 Scene 2
I’ve nothing to say to you.
vermandero Comforts bless you, sir. 50
tomazo
I have forsworn compliment; in troth I have, sir:
As you are merely man, I have not left
A good wish for you, nor any here.
vermandero
Unless you be so far in love with grief
You will not part from’t upon any terms, 55
We bring that news will make a welcome for us.
tomazo
What news can that be?
vermandero Throw no scornful smile
Upon the zeal I bring you. ’Tis worth more, sir.
Two of the chiefest men I kept about me
I hide not from the law or your just vengeance. 60
tomazo Ha!
vermandero
To give your peace more ample satisfaction,
Thank these discoverers.
tomazo If you bring that calm,
Name but the manner I shall ask forgiveness in
For that contemptuous smile upon you: 65
I’ll perfect it with reverence that belongs
Unto a sacred altar. [He kneels]
vermandero Good sir, rise:
Why, now you overdo as much o’ this hand,
As you fell short o’ t’other.—Speak, Alibius.
alibius
’Twas my wife’s fortune—as she is most lucky 70
At a discovery—to find out lately
Within our hospital of fools and madmen
Two counterfeits slipped into these disguises,
Their names Franciscus and Antonio.
vermandero
Both mine, sir, and I ask no favour for ’em. 75
Exit alibius
Now that which draws suspicion to their habits:
The time of their disguisings agrees justly
With the day of the murder.
tomazo [rising] O blest revelation!
vermandero
Nay, more; nay, more, sir: I’ll not spare mine own
In way of justice. They both feigned a journey 80
To Briamata, and so wrought out their leaves.
My love was so abused in’t.
tomazo Time’s too precious
To run in waste now. You have brought a peace
even the most common of courteous 63 discoverers revealers of the news (i.e.
greetings Alibius and Isabella)
68 o’ this hand in this direction
an irony of which he is unaware: ‘in 70–1 as she . . . discovery probably an
my state of ignorance, I might, for all unintentional joke on ‘discovery’ = dis-
I know, actually give a good morning or uncovering a body of its clothing
greeting to my brother’s murderer’. 76 draws . . . habits makes their disguises
(Tomazo has just been talking to the very (especially) suspicious
man.) 81 wrought out obtained
1673
 Act 5 Scene 2
The riches of five kingdoms could not purchase.
85 Be my most happy conduct; I thirst for ’em:
Like subtle lightning will I wind about ’em
And melt their marrow in ’em.
5.3 Enter Alsemero and Jasperino
jasperino
Your confidence, I’m sure, is now of proof.
The prospect from the garden has showed enough
For deep suspicion.
alsemero The black mask
That so continually was worn upon’t
5 Condemns the face for ugly ere’t be seen.
Her dèspite to him, and so seeming bottomless—
jasperino
Touch it home then! ’Tis not a shallow probe
Can search this ulcer soundly; I fear you’ll find it
Full of corruption. ’Tis fit I leave you:
10 She meets you opportunely from that walk;
She took the back door at his parting with her.
Exit Jasperino
alsemero
Did my fate wait for this unhappy stroke
At my first sight of woman?
Enter Beatrice
She’s here.
beatrice
Alsemero!
alsemero
How do you?
beatrice How do I?
15 Alas, how do you? You look not well.
alsemero
You read me well enough. I am not well.
beatrice
Not well, sir? Is’t in my power to better you?
alsemero
Yes.
beatrice
Nay, then you’re cured again.
alsemero
Pray resolve me one question, lady.
85 conduct document ensuring safe passage
’em i.e. Franciscus and Alonzo, who
Tomazo believes to have murdered his
brother
86–7 lightning . . . marrow proverbial:
‘Lightning (thunder) bruises the tree
(melts the marrow) but breaks not the
bark (skin)’ (Tilley, Dent L280).
5.3.1 Your . . . of proof your suspicion is now
confirmed
2 from the garden Jasperino and Alsemero
appear to have spied on Beatrice and De
Flores sometime since 5.1.
3 black mask Beatrice’s pretence of
loathing De Flores
7 Touch strike
7–8 probe . . . ulcer A ‘probe’ was a blunt
The Changeling.
beatrice If I can.
alsemero None can so sure. Are you honest? 20
beatrice
Exeunt Ha, ha, ha! That’s a broad question, my lord.
alsemero
But that’s not a modest answer, my lady.
Do you laugh? My doubts are strong upon me.
beatrice
’Tis innocence that smiles, and no rough brow
Can take away the dimple in her cheek. 25
Say I should strain a tear to fill the vault,
Which would you give the better faith to?
alsemero
’Twere but hypocrisy of a sadder colour,
But the same stuff. Neither your smiles nor tears
Shall move or flatter me from my belief: 30
You are a whore.
beatrice What a horrid sound it hath!
It blasts a beauty to deformity.
Upon what face soever that breath falls,
It strikes it ugly. O, you have ruined
What you can ne’er repair again. 35
alsemero
I’ll all demolish, and seek out truth within you,
If there be any left. Let your sweet tongue
Prevent your heart’s rifling, there I’ll ransack
And tear out my suspicion.
beatrice You may, sir;
’Tis an easy passage. Yet, if you please, 40
Show me the ground whereon you lost your love.
My spotless virtue may but tread on that
Before I perish.
alsemero Unanswerable,
A ground you cannot stand on! You fall down
Beneath all grace and goodness when you set 45
Your ticklish heel on’t. There was a visor
O’er that cunning face, and that became you;
Now impudence in triumph rides upon’t.
How comes this tender reconcilement else
’Twixt you and your despite—your rancorous loath-
ing, 50
De Flores? He that your eye was sore at sight of,
surgical instrument, typically metal, 25)—but ‘vault’ could mean drain,
for exploring the depth and direction of sewer, or privy (compare 3.2.21 and
wounds and sinuses. note)
13 At . . . woman i.e. at my first insight into 28 sadder darker
what women are really like. (Alsemero’s 32 blasts . . . to (violently) transforms . . . into
image reprises the Garden of Eden 37–8 Let . . . rifling i.e. Even if your sweet
conceit from the play’s first speech.) tongue tries to forestall me, I’ll ransack
14 How do you? a deliberately cool greeting your heart to learn the truth.
(especially for newlyweds) 41 ground (a) spot, place (b) grounds, basis.
18 Nay . . . again i.e. if all that’s needed to Beatrice continues the metaphor with
make you well again is for me to offer ‘tread’ in the next line, and Alsemero
my help, consider it done picks it up in l. 44, saying ‘You have
20 honest (a) truthful (b) chaste no basis on which to defend yourself
21 broad (a) general (hence vague) honourably’.
(b) bawdy (a sense Alsemero picks up 46 ticklish (a) slippery (b) lascivious, wanton
in ‘modest’, l. 22) 50 despite contempt
26 vault (a) the cavity of her dimple (l.
1674
 The Changeling. Act 5 Scene 3

He’s now become your arm’s supporter, alsemero

Your lip’s saint! The bed itself’s a charnel, the sheets shrouds
beatrice Is there the cause? For murdered carcasses. It must ask pause
alsemero Worse, your lust’s devil, What I must do in this; meantime you shall 85
Your adultery! Be my prisoner only. Enter my closet.
beatrice Would any but yourself say that, [Exit Beatrice into closet]
’Twould turn him to a villain. I’ll be your keeper yet. O, in what part
55 alsemero ’Twas witnessed Of this sad story shall I first begin?
By the counsel of your bosom, Diaphanta. Enter De Flores
beatrice Ha! This same fellow has put me in.—De Flores!
Is your witness dead then? de flores
alsemero ’Tis to be feared Noble Alsemero!
It was the wages of her knowledge, poor soul; alsemero I can tell you news, sir: 90
She lived not long after the discovery. My wife has her commended to you.
beatrice de flores
60 Then hear a story of not much less horror That’s news indeed, my lord; I think she would
Than this your false suspicion is beguiled with, Commend me to the gallows if she could,
To your bed’s scandal. I stand up innocence, She ever loved me so well, I thank her.
Which even the guilt of one black other deed alsemero
Will stand for proof of: your love has made me What’s this blood upon your band, De Flores? 95
A cruel murd’ress. de flores
alsemero Ha! Blood? No, sure. ’Twas washed since.
65 beatrice A bloody one. alsemero Since when, man?
I have kissed poison for’t, stroked a serpent. de flores
That thing of hate, worthy in my esteem, Since t’other day I got a knock
Of no better employment, and him most worthy In a sword-and-dagger school. I think ’tis out.
To be so employed, I caused to murder alsemero
70 That innocent Piracquo, having no Yes, ’tis almost out, but ’tis perceived though.
Better means than that worst, to assure I had forgot my message. This it is: 100
Yourself to me. What price goes murder?
alsemero O, the place itself e’er since de flores How, sir?
Has crying been for vengeance, the temple alsemero I ask you, sir.
Where blood and beauty first unlawfully My wife’s behindhand with you, she tells me,
75 Fir’d their devotion, and quenched the right one; For a brave bloody blow you gave for her sake
’Twas in my fears at first; ’twill have it now, Upon Piracquo.
O, thou art all deformed! de flores [aside]
beatrice Forget not, sir, Upon? ’Twas quite through him, sure.—
It for your sake was done! Shall greater dangers Has she confessed it?
Make the less welcome? alsemero As sure as death to both of you, 105
alsemero O, thou shouldst have gone And much more than that.
80 A thousand leagues about to have avoided de flores It could not be much more:
This dangerous bridge of blood! Here we are lost. ’Twas but one thing, and that is she’s a whore.
beatrice alsemero
Remember I am true unto your bed. It could not choose but follow. O cunning devils!

53 Is there the cause? (a) is that what you
are so exercised about? (b) is that the
accusation? (compare 3.4.56, note)
53–4 Worse . . . adultery And what’s worse,
he, De Flores, is your tempter to lust and
adultery
58 wages of price paid for
62 stand up innocence am innocent
64 your love love of you
71 than that worst i.e. than De Flores
75 Fir’d . . . one set afire their devotion and
extinguished (i.e. suppressed) the proper
one (i.e. to God: compare ‘devotion’ at
1.1.157)
76 ’twill have it now probably ‘the place’
(l. 72), which has been ‘crying for
vengeance’ (l. 73), and will now get it
87 keeper ‘Keeper’ here has resonances
of (a) jailor (b) (with pun) keeper of
prostitutes, pimp (c) keeper of lunatics
(as at 1.2.134, 3.3.95).
89 put me in (a) put me in mind of (b) given
me an idea or cue (theatrical)
95 band i.e. collar (of garment)
98–9 out . . . out with bitter wordplay:
drawn . . . revealed
102 behindhand with in debt to (also
suggesting ‘behind’ in the sense of
backing up, conspiring with, ‘in back
of ’)
103 brave splendid, daring
104 Upon . . . Upon grim punning: on the
body of . . . on the surface (as distin-
guished from all the way through)
106 And . . . than that much more than
death—eternal damnation. In his reply,
De Flores misunderstands or deliberately
twists Alsemero’s meaning, taking it to
refer to how much Beatrice has confessed
to.

1675
 Act 5 Scene 3 The Changeling.

How should blind men know you from fair-faced franciscus

saints? That may be done with easy truth, sir.
110 beatrice (within) He lies! The villain does belie me! tomazo
de flores How is my cause bandied through your delays!
Let me go to her, sir. ’Tis urgent in my blood, and calls for haste. 135
alsemero Nay, you shall to her. Give me a brother alive or dead:
[To Beatrice] Peace, crying crocodile, your sounds are Alive, a wife with him; if dead, for both
heard! A recompense—for murder and adultery.
Take your prey to you.—Get you in to her, sir. beatrice (within)
[Exit De Flores into closet. Alsemero locks them in] O, O, O!
I’ll be your pander now; rehearse again alsemero
115 Your scene of lust, that you may be perfect Hark, ’tis coming to you.
When you shall come to act it to the black audience de flores (within)
Where howls and gnashings shall be music to you. Nay, I’ll along for company!
Clip your adulteress freely; ’tis the pilot beatrice (within) O, O! 140
Will guide you to the Mare Mortuum, vermandero What horrid sounds are these?
120 Where you shall sink to fathoms bottomless. alsemero [unlocking closet]
Enter Vermandero, Alibius, Isabella, Tomazo, Come forth, you twins of mischief.
Franciscus, and Antonio Enter De Flores, bringing in Beatrice, [wounded]
vermandero de flores
O, Alsemero, I have a wonder for you. Here we are. If you have any more
alsemero To say to us, speak quickly: I shall not
No, sir. ’Tis I, I have a wonder for you. Give you the hearing else. I am so stout yet, 145
vermandero And so, I think, that broken rib of mankind.
I have suspicion near as proof itself vermandero
For Piracquo’s murder. An host of enemies entered my citadel
alsemero Sir, I have proof Could not amaze like this. Joanna! Beatrice-Joanna!
125 Beyond suspicion for Piracquo’s murder. beatrice
vermandero O come not near me, sir. I shall defile you.
Beseech you hear me: these two have been disguised I am that of your blood was taken from you 150
E’er since the deed was done. For your better health. Look no more upon’t,
alsemero I have two other But cast it to the ground regardlessly;
That were more close disguised than your two could Let the common sewer take it from distinction.
be, Beneath the stars, upon yon meteor
E’er since the deed was done. Ever hung my fate, ’mongst things corruptible. 155
130 vermandero You’ll hear me! These mine own servants— I ne’er could pluck it from him; my loathing
alsemero Hear me! Those nearer than your servants Was prophet to the rest, but ne’er believed.
That shall acquit them, and prove them guiltless. Mine honour fell with him, and now my life.

111 Let . . . shall to her more grim punning:
De Flores asks to be united with Beatrice,
to which Alsemero answers that De
Flores will share her fate.
Nay Indeed
112 crying crocodile The crocodile was
thought to cry false tears to trap its prey,
and to cry hypocritically as it devoured
it.
116 black audience i.e. devils in hell
117 howls and gnashings compare Matthew
13:42: (in Hell) ‘there shall be wailing
and gnashing of teeth’
118 Clip embrace
119–20 Mare Mortuum . . . bottomless
Alsemero alludes to hell with its rivers.
The Dead Sea was thought, like hell, to
be bottomless.
127 two other i.e. Franciscus and Antonio
(to whom Vermandero likely gestures
here)
134 bandied tossed aside (hence ignored)
138 adultery Presumably Tomazo regards
Beatrice as his brother’s ‘wife’ (l. 137),
hence her marriage to Alsemero is
adulterous.
139 O, O, O! It is strategically unclear
what transpires in the closet; along with
their implication of violence, Beatrice’s
cries (and those of De Flores) are apt
to remind the audience of the sounds
lovers make in their passionate embrace.
Alsemero’s ‘Hark, ’Tis coming to you’
in l. 139 helps prepare for this sexual
suggestion.
’tis i.e. Tomazo’s ‘recompense’ (l. 138)
145 stout (a) strong (i.e. strong enough to
hear a brief speech) (b) defiant, uncom-
promising
146 that i.e. is that
broken rib of mankind i.e. Beatrice. De
Flores speaks misogynistically of Beatrice
as a daughter of Eve, the first woman,
whom God made out of Adam’s rib
(Genesis 2:21–2).
150–1 I am that . . . better health I have
been taken from you this way to remove
the contamination which I now infect
you with. (The metaphor is from blood-
letting, a standard medical procedure at
the time. Beatrice describes herself as a
phial of tainted blood which Vermandero
should immediately discard.)
152 it your blood; me
153 common sewer With ‘defile’ in l. 149
and ‘cast’ in l. 152, compare Matthew
15:17–20 (Rheims).
take it from distinction sweep it away
where it will be indistinguishable from all
the wasted matter of this corrupted world
154 yon meteor i.e. De Flores, who is
like an ill-omened meteor beneath the
constant and pure ‘stars’ (proverbial).
156 him De Flores
157 the rest i.e. subsequent events

1676

Alsemero, I am a stranger to your bed;
160 Your bed was cozened on the nuptial night,
For which your false-bride died.
alsemero Diaphanta!
de flores
Yes, and the while I coupled with your mate
At barley-break; now we are left in hell.
vermandero We are all there. It circumscribes us here.
de flores
165 I loved this woman in spite of her heart;
Her love I earned out of Piracquo’s murder.
tomazo
Ha! My brother’s murderer!
de flores Yes, and her honour’s prize
Was my reward. I thank life for nothing
But that pleasure, it was so sweet to me
170 That I have drunk up all, left none behind
For any man to pledge me.
vermandero Horrid villain!
Keep life in him for further tortures.
de flores No,
I can prevent you: here’s my penknife still;
It is but one thread more—
[He cuts himself ]
—and now ’tis cut.
175 Make haste, Joanna, by that token to thee:
Canst not forget, so lately put in mind,
I would not go to leave thee far behind. (Dies)
beatrice
Forgive me, Alsemero, all forgive:
’Tis time to die when ’tis a shame to live. (Dies)
vermandero
180 O, my name is entered now in that record
Where till this fatal hour ’twas never read.
alsemero
Let it be blotted out; let your heart lose it,
And it can never look you in the face,
Nor tell a tale behind the back of life
185 To your dishonour. Justice hath so right
The guilty hit, that innocence is quit
163 barley-break . . . hell see 3.3.181–2, note
164 It circumscribes us here compare Doctor
Faustus, 5.121–2 (A-text): ‘Hell hath no
limits, nor is circumscribed \ In one self
place; for where we are is hell, \ And
where hell is, must we ever be’.
165 in spite of her heart (a) despite her
disposition toward me (b) despite her
inconstant heart
167 her honour’s prize her virginity
175 token probably his wound—perhaps
the gesture of cutting himself
180 that record i.e. the heavenly book
listing earthly rights and wrongs
186–7 quit \ By proclamation acquitted or
The Changeling. Act 5 Scene 3
By proclamation, and may joy again.
Sir, you are sensible of what truth hath done;
’Tis the best comfort that your grief can find.
tomazo
Sir, I am satisfied: my injuries 190
Lie dead before me. I can exact no more
Unless my soul were loose, and could o’ertake
Those black fugitives that are fled from thence,
To take a second vengeance; but there are wraths
Deeper than mine, ’tis to be feared, about ’em. 195
alsemero
What an opacous body had that moon
That last changed on us! Here’s beauty changed
To ugly whoredom; here, servant-obedience
To a master-sin: imperious murder!
I, a supposèd husband, changed embraces 200
With wantonness, but that was paid before.
[To Tomazo] Your change is come too: from an ignor-
ant wrath
To knowing friendship.—Are there any more on’s?
antonio Yes, sir: I was changed too, from a little ass as
I was, to a great fool as I am; and had like to ha’ 205
been changed to the gallows, but that you know my
innocence always excuses me.
franciscus
I was changed from a little wit to be stark mad,
Almost for the same purpose.
isabella [to Alibius] Your change is still behind,
But deserve best your transformatïon. 210
You are a jealous coxcomb; keep schools of folly,
And teach your scholars how to break your own
head.
alibius
I see all apparent, wife, and will change now
Into a better husband, and never keep
Scholars that shall be wiser than myself. 215
alsemero [to Vermandero]
Sir, you have yet a son’s duty living;
Please you accept it. Let that your sorrow
As it goes from your eye, go from your heart;
Man and his sorrow at the grave must part.
absolved by public proclamation 201 but . . . before but that monstrous charge
188–90 Sir . . . Sir Alsemero may address has already been paid for (by the deaths
either Vermandero or Tomazo; Tomazo of Beatrice, Diaphanta, and De Flores)
may address Vermandero or Alsemero. 207 innocence (a) guiltlessness (b) idiocy
192 loose freed 209 still behind yet to come
193 black fugitives . . . thence i.e. sooty or 212 break your own head crack your skull;
evil devils (here = the souls of) (Beatrice with clear suggestion of cuckoldry
and De Flores), newly departed from 215 that shall i.e. who may seem to be
their bodies (‘thence’). See 5.3.116 and 216 son’s duty living (a) the duty of a son-
note. in-law, still alive (b) continuing fealty
194–5 there . . . about ’em divine vengeance, from someone once your son
more profound even than mine, is 217 Let . . . sorrow let that which sorrows
perhaps even now encompassing them you
196 opacous shadowy, not illuminating 218 from your eye i.e. as tears
1677
 The Changeling.
Epilogue [Spoken by Alsemero]
All we can do to comfort one another,
To stay a brother’s sorrow for a brother,
To dry a child from the kind father’s eyes,
Is to no purpose; it rather multiplies.
THE PARTS
beatrice (541 lines): Madmen
de flores (422 lines): Jasperino, Pedro, Madmen, Ser-
vants, Diaphanta
lollio (324 lines): Tomazo or Alonzo or Servants or
Diaphanta or Gentlemen or Gallants or Gentlewomen
alsemero (284 lines): Alonzo or Lollio or Pedro or Mad-
men
vermandero (148 lines): Pedro; Madmen (4.3)
isabella (146 lines): Jasperino, Pedro, Servants
tomazo (128 lines): Jasperino; Lollio or Pedro; Madmen;
Servants; Diaphanta or Gentlemen or Gallants or Gen-
tlewomen
alibius (124 lines): Jasperino; Servants; Alonzo or Dia-
phanta or Gentlemen or Gallants or Gentlewomen
antonio (102 lines): Alonzo, Jasperino, Servants, Dia-
phanta, Gentlemen, Gallants, Gentlewomen
jasperino (89 lines): any but Alsemero, Servants, Be-
atrice, Diaphanta, Isabella, De Flores, Lollio, Alonzo,
and Gentles (4.1)
diaphanta (63 lines): Alibius, Lollio, Pedro, Antonio,
Franciscus, Madmen, Servants
franciscus (59 lines): Alonzo, Jasperino, Pedro, Servants,
Diaphanta, Gentlemen, Gallants, Gentlewomen
alonzo (48 lines): Alibius or Lollio or Pedro or Antonio or
Franciscus or Madmen or Servants
pedro (31 lines; 1.2): any but Lollio, Alibius, Antonio
4? madmen and fools (11 lines; 1.2, 3.3, and 4.3): any
but Alibius, Lollio, Antonio, Isabella
Vermandero’s First servant (7 lines; 1.1, 4.2, and 5.1):
any but Alsemero, Jasperino, Vermandero’s Second Ser-
vant, Beatrice’s First Servant, Beatrice’s Second Ser-
vant, Beatrice, Diaphanta, De Flores, Vermandero, To-
mazo
Epilogue.2 stay eradicate, forestall
5 Your only i.e. Only your
6 their rooms their place
1678
Your only smiles have power to cause re-live 5
The dead again, or in their rooms to give
Brother a new brother, father a child:
If these appear, all griefs are reconciled.
Exeunt omnes [with the bodies]
Finis
Alsemero’s second servant (4 lines; 1.1): any but Alse-
mero, Jasperino, Alsemero’s First Servant, Beatrice,
Diaphanta
Alsemero’s first servant (3 lines; 1.1): any but Alse-
mero, Jasperino, Alsemero’s Second Servant, Beatrice,
Diaphanta
Vermandero’s Second servant (no lines; 1.1 and 5.1): any
but Alsemero, Jasperino, Vermandero’s First Servant,
Beatrice’s First Servant, Beatrice’s Second Servant, Be-
atrice, Diaphanta, De Flores, Vermandero
Beatrice’s First servant (no lines; 1.1): any but Alsem-
ero, Jasperino, Beatrice’s Second Servant, Vermandero’s
First Servant, Vermandero’s Second Servant, Beatrice,
Diaphanta, De Flores, Vermandero
Beatrice’s Second servant (no lines; 1.1): any but Alse-
mero, Jasperino, Beatrice’s First Servant, Vermandero’s
First Servant, Vermandero’s Second Servant, Beatrice,
Diaphanta, De Flores, Vermandero
2? gentlemen (dumb show, 4.1): Tomazo; servants;
Alibius or Lollio or Pedro or Antonio or Franciscus
2? gallants (dumb show, 4.1): Tomazo; servants; Alibius
or Lollio or Pedro or Antonio or Franciscus
2? gentlewomen (dumb show, 4.1): Tomazo; Alibius or
Lollio or Pedro or Antonio or Franciscus
Most crowded scene: 4.1, Dumb show: 8 characters
(+2? mute gentlemen, 2? mute gallants, 2? mute
gentlewomen)
Missing from 4.1 dumb show (characters who would have
a narrative reason to be present): Alibius, Lollio
Missing from 5.3 (characters who would have a narrative
reason to be present): Lollio, Jasperino