A SELECT COLLECTION OF OLD ENGLISH PLAYS.

BY

W. CAREW HAZLITT.

BENJAMIN BLOM, INC.

Table of Contents Created by Transcriber

THE SPANISH TRAGEDY ACT I. ACT II. ACT III. ACT IV. ACT V. CORNELIA. THE ARGUMENT. ACT I. ACT II. ACT III. ACT IV. ACT V. SOLIMAN AND PERSEDA. ACT I. ACT II. ACT III. ACT IV. ACT V. LIFE AND DEATH OF JACK STRAW. ACTUS PRIMUS. ACTUS SECUNDUS. ACTUS TERTIUS. ACTUS QUARTUS.

[Pg 1]

THE SPANISH TRAGEDY OR THE SECOND PART OF JERONIMO.

[Pg 2]

EDITIONS.

The Spanish Tragedie, Containing the lamentable end of Don Horatio and Bel-imperia: with the pitiful death of olde Hieronimo. Newly corrected and amended of such grosse faults as passed in the first impression. At London Printed by Edward Allde, for Edward White. [Circâ 1594.] 4°.

The Spanish Tragedie. Containing the lamentable end of Don Horatio.... At London printed by William White dwelling in Cow-lane. 1599. 4°.

The Spanish Tragedie: Containing... enlarged with new additions of the Painters part and others, as it hath of late been divers time acted. Imprinted at London by W. W. for T. Pauier.... 1602. 4°.

Other editions appeared in 1610, &c., an account of which may be found in Halliwell's "Dictionary." Compare also Hazlitt, art. Kyd.

[Pg 3]

PREFACE.

This play was the object of ridicule to almost every writer of the time.[1] Heywood refers to it as the work of Thomas Kyd,[2] who is enumerated among the best tragic writers of his time by Meres. Ben Jonson speaks of him in his lines on Shakespeare as sporting Kyd; and Clarke, in his "Polimanteia," 1595, says, "Cornelia's [Pg 4] [Pg 5]Tragedy, however not respected, was excellently well done by him."

There is no exact authority for calling Allde's undated 4to the second edition, as Hawkins did, since we do not know how many others may have preceded it. The play was licenced in October 1592; but of a first edition, not purporting to be amended, no copy has been [Pg 6]yet found. The allusion to "Jeronimo," which occurs in the introduction to Jonson's "Bartholomew Fair," probably refers to the "First Part of Jeronimo."

Henslowe seems to mention a performance of the "Spanish Tragedy," February 23, 1591-92; and we find from Decker's "Satiromastix," 1602, that Ben Jonson originally performed the part of Jeronimo.[3]

[Pg 7]

Cotton alludes to this play even as late as in the prologue to his "Scoffer Scoff'd"—

which shows that then it was remembered.

DRAMATIS PERSONÆ.

THE SPANISH TRAGEDY, &c.

ACT I.

Enter the Ghost of Andrea, and with him Revenge.

[Pg 9]

Ghost.

Revenge.

Enter Spanish King, General, Castile, and Hieronimo.

King.

[Pg 12]

General.

King.

General.

[Pg 13]

King.

General.

King.

[Pg 14]

Castile.

King.

General.

[Pg 17]

King.

[Gives him his chain.

General.

[Gives the King a paper.

King.

Hieronimo.

King.

[A tucket[39] afar off.

General.

The army enters.[41] Balthazar, between Lorenzo and Horatio, captive.

King.

[They enter and pass by.

General.

King.

[Pg 19]

Hieronimo.

King.

[Enter again.

[Exeunt all but Bal., Lor., and Hor.

Balthazar.

King.

[Pg 20]

Balthazar.

King.

Lorenzo.

Horatio.

[Pg 21]

Lorenzo.

Horatio.

Lorenzo.

Horatio.

King.

[They let him go.

[Pg 22]

Balthazar.

Hieronimo.

King.

Lorenzo.

Horatio.

King.

Balthazar.

King.

[Exeunt.

Enter Viceroy,[51] Alexandro, and Villuppo.

Viceroy.

[Pg 24]

Alexandro.

Viceroy.

Alexandro.

Viceroy.

[Falls to the ground.

Alexandro.

Viceroy.

Alexandro.

[Pg 26]

Viceroy.

Alexandro.

Viceroy.

Alexandro.

[Pg 27]

Viceroy.

Alexandro.

Viceroy.

Villuppo.

Viceroy.

[Pg 28]

Villuppo.

Alexandro.

Viceroy.

Villuppo.

[Pg 29]

Viceroy.

[He takes the crown, and puts it on again.

Alexandro.

Viceroy.

[Exit Vice.

Villuppo.

[Exit.

Enter Horatio and Bell'-Imperia.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

[Exit Horatio.

Enter Lorenzo and Balthazar.

Lorenzo.

Bell'-Imperia.

Lorenzo.

Bell'-Imperia.

Balthazar.

Bell'-Imperia.

Balthazar.

Bell'-Imperia.

Balthazar.

Bell'-Imperia.

Balthazar.

Bell'-Imperia.

Balthazar.

[Pg 35]

Lorenzo.

[Aside.

Bell'-Imperia.

Balthazar.

Bell'-Imperia.

[She, in going in, lets fall her glove, which Horatio, coming out, takes up.

Horatio.

Bell'-Imperia.

[Pg 36]

Balthazar.

Horatio.

Lorenzo.

Horatio.

Balthazar.

Enter the Banquet, Trumpets, the King, and Ambassador.

King.

Ambassador.

Balthazar.

King.

[Sit to the banquet.

Enter Hieronimo with a drum, three knights, each his 'scutcheon: then he fetches three kings, they take their crowns and them captive.

Hieronimo.

[He takes the 'scutcheon, and gives it to the King.

King.

Hieronimo.

[He doth as he did before.

King.

Hieronimo.

[Doing as he did before.

Ambassador.

King.

[Takes the cup of Horatio.

Enter Andrea's Ghost, with Revenge.

Andrea.

Revenge.

FOOTNOTES:

[1] Its great popularity, no doubt, was one cause. Prynne, in his "Histriomastix," fol. 556, has a curious passage, which in all probability refers to the "Spanish Tragedy." He is quoting the authority of the "English Gentlewoman," by R. Brathwaite, who, it is stated in the margin, was present at the occurrence: "To these two former precedents (says Prynne) I shall annex the parallel example of a late English Gentlewoman of good ranke who, daily bestowing the expense of her best hours upon the stage, and at last falling into a dangerous sickness of which she died, her friends in her extremity sent for a minister to comfort, counsel, and prepare her for her ende; who, coming to instruct her, and advising her to repent, and call upon God for mercy, she made him no reply at all, but cried out, 'Hieronimo, Hieronimo! O, let me see Hieronimo acted' (calling out for a play, instead of crying unto God for mercy), and so closed her dying eyes."—Collier.

[2] ["Apology for Actors," 1612, repr. 1841, p. 45.]

[3] This fact depends merely upon the evidence of Decker, which is denied by Mr Gifford. At the same time, it is a point of little importance; for, were it true, it could form no imputation against Ben Jonson. Mr Gifford also (Jonson's "Works," i. xvii.) notices the adicions made by Jonson to "Jeronimo." This fact rests upon the following quotations from Henslowe's "Diary," edit. 1845, pp. 201, 223:—

"Lent unto Mr Alleyn, the 25 of September, 1601, to lend unto Bengemen Johnson, upon his writing of his adicions in Geronymo, the some of xxxxs."

"Lent unto Bengemy Johnson, at the apoyntment of E. Alleyn and Wm. Byrde, the 24 of June, 1602, in earneste of a boocke called Richard Crockbacke, and for new adicyons for Jeronymo, the some of xli."

Unquestionably these additions[4] bear marks of a hand greatly superior to that of Kyd, though Mr Hawkins says "they were foisted in by the players." They are mentioned on the title-page of the edition of 1602 of the "Spanish Tragedy". Henslowe confounds "Jeronimo" and the "Spanish Tragedy," and it does not appear that any additions were made to the former.

In the last edition of Dodsley, a curious ballad on the subject was given as an illustration. It is entitled "The Spanish Tragedy, containing the Lamentable Murder of Horatio and Bellimperia: With the pitiful Death of Old Hieronimo. To the tune of Queen Dido. Printed at London for H. Gosson," with a woodcut.

[4] First printed in the 4to of 1602.

[5] [Old copies, Portingal.]

[6] [He is called Balthezar in the "First Part of Jeronimo."]

[7] Wonted, edits. 1618, '23, '33.

[8] There in the pride and prime, ditto.

[9] Summer's, 1623, '33.

[10] Slackt, 1618.

[11] Censurer, 1618, '23, '33.

[12] Shapes of ever-blooming night, 1618. Shades of ever-blooming night, 1623, '33.

[13] Field, 1618, '23, '33.

[14] Fall down, ditto.

[15] Murderers greeve, 1618. Murderers greene, 1623, '33.

[16] —— smile. I begg'd, 1618, '23, '33.

[17] Whispered. So in Gascoigne's "Fable of Ferdinando Jeronimi" (Works, by Hazlitt, i. 422): "After his due reverence, hee layde his hande on hir temples, and privily rounding hir in hir eare;" and in Lyly's "Euphues," 1579, we have, "rounding Philautus in his eare." See also Steevens's note on King John, ii. 2.

[18] Of Hor, second edit.; of Horror, 1618, '23, '33. For the gates of horn, see Virgil, B. vi., Sunt geminæ somni portæ, &c.

[19] Pretends, 1618, '23, 33. [And perhaps rightly, as pretend was frequently used in the sense of intend, purpose.]

[20] Will, 1633.

[21] Bounds, 1623, '33.

[22] Skies, 1633.

[23] Valour, 1618, '23, '33.

[24] Coronet, ditto.

[25] This play, though not mentioned in the "Key to the Rehearsal," seems to have been one of those ridiculed by the Duke of Buckingham in that witty performance. See act v.—

[26] When, 1618, '23, '33.

[27] Dark'd, ditto

[28] Dropt, ditto.

[29] And soldiers lie maim'd, ditto.

[30] Unbowed, ditto.

[31] His, 1618.

[32] Pickt, 1618.

[33] Tribute may be paid, 1618, '23, '33.

[34] Our, ditto.

[35] That, ditto.

[36] This, ditto.

[37] The, 1618, '23, '33.

[38] That, 1618, '23.

[39] Trumpet, 1618, '23, '33. [A tucket is a flourish on a trumpet; but it is not perfectly clear that the word was not understood in the sense of a trumpet itself. See a note in the "First Part of Jeronimo," vol. iv., p. 380.]

[40] Gave them charge, 1618, '23, '33.

[41] Meets, 1618, '23, '33.

[42] The, 1618, '23, '33.

[43] Observes, ditto.

[44] As though, 1618.

[45] Free, omitted ditto.

[46] Lord, 1618, '23, '33.

[47] The, ditto.

[48] So, ditto.

[49] So in Shakespeare's "King John," iii. 1—

[50] [Reward. It seemed idle to reprint the long note in the last edition of Dodsley, illustrating the meaning of a word with which every schoolboy is acquainted.]

[51] Called King of Portugal or Portingal in the "First Part of Jeronimo." The scene here changes to Portugal.—Collier.

[52] This, 1618, '23, '33.

[53] It, 1618.

[54] Adjudged, 1618, '23, '33.

[55] I am, 1633.

[56] Nihil, 1633.

[57] These, 1623, '33.

[58] Put his, ditto.

[59] But where? 1618, '23, '33.

[60] Will fly, 1618, '23, '33.

[61] The, 1618, '23, '33.

[62] Hast, 1623, '33.

[63] Thoughts, 1618, '28, '33.

[64] Now Ile, ditto.

[65] Deare, ditto.

[66] Chiefest, 1623, '33.

[67] Ile not refuse this doleful heavy, 1618, '23, '33.

[68] To, ditto.

[69] A omitted, 1618, '23.

[70] i.e., Threw him on the ground with force, as in the "Second Part of Antonio and Mellida," iv. 3—

Again, in Nash's "Lenten Stuffe," 1599: "For besides the loud bellowing ... which hath dung me in a manner down," &c. And in Marston's "Satires"—

[71] So, omitted, 1618, '23, '33.

[72] Carrying or bearing. So in Churchyard's "Challenge," 1593, p. 116—

[73] Sorrowes, 1618, '23, '33.

[74] This scarf pluckt off from, ditto.

[75] Thou, omitted, 1618, '23, '33.

[76] Of, 1618, '23, 33.

[77] At, ditto.

[78] [Live, Allde's edition.]

[79] So in "Wily Beguil'd," 1606—

[80] Devis'd,1618, '23, '33.

[81] That is, act from caprice. So in Ben Jonson's "Every Man out of his Humour," induction: "When you come to plays, be humorous, look with a good starch'd face, and ruffle your brow like a new boot; laugh at nothing but your own jests, or else as the noblemen laugh." Again, in Decker's "Satiromastix," 1602—

And in the "Second Part of King Henry IV.," iv. 4, we have—

See also Mr Steevens's note on the last passage.

[82] Delightsome, 1618, '12, '33.

[83] Revellinge, ditto.

[84] Lord, ditto.

[85] To jest is to play a part in a masque. See Dr Farmer's note on "King Richard II.," i. 3—

[86] Five and, omitted, 1623, '33.

[87] We, 1618, '23, '33.

ACT II.

Enter Lorenzo and Balthazar.

Lorenzo.

Balthazar.

Lorenzo.

[Pg 38]

Balthazar.

Lorenzo.

Enter Pedringano.

Pedringano.

Lorenzo.

Pedringano.

[Pg 39]

Lorenzo.

Pedringano.

Lorenzo.

Pedringano.

Lorenzo.

[Draws his sword.

[Pg 40]

Pedringano.

Lorenzo.

Pedringano.

Lorenzo.

Pedringano.

[Balthazar starts back.

Lorenzo.

Pedringano.

[Pg 41]

Lorenzo.

Pedringano.

Lorenzo.

Pedringano.

Lorenzo.

Pedringano.

[Pg 42]

Lorenzo.

Pedringano.

Lorenzo.

[Exit Ped.

Balthazar.

[Pg 43]

Lorenzo.

Enter Horatio and Bell'-Imperia.

Horatio.

[Pg 44]

[Pedringano shows all to the Prince and Lorenzo, placing them in secret.

Bell'-Imperia.

Balthazar and Lorenzo aside.[105]

Balthazar.

Lorenzo.

Bell'-Imperia.

[Pg 45]

Horatio.

Bell'-Imperia.

Horatio.

Balthazar.

Bell'-Imperia.

Horatio.

[Pg 46]

Lorenzo.

[Aside.

Bell'-Imperia.

Horatio.

Balthazar.

Bell'-Imperia.

Horatio.

Lorenzo.

Enter King of Spain, Portingal Ambassador, Don Cyprian, &c.

King.

[Pg 48]

Cyprian.

King.

Ambassador.

King.

Ambassador.

[Pg 49]

King.

Ambassador.

King.

Ambassador.

King.

Ambassador.

King.

[Exeunt.

Enter Horatio, Bell'-Imperia, and Pedringano.

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

Pedringano.

[Pg 51]

[Exit Ped.

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

Horatio.

[Pg 52]

Bell'-Imperia.

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

[Pg 53]

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

Horatio.

Bell'-Imperia.

[Pg 54]

Horatio.

Bell'-Imperia.

Enter Lorenzo, Balthazar, Cerberine, and Pedringano disguised.

Lorenzo.

[They hang him in the arbour.

Horatio.

Lorenzo.

[They stab him.

Bell'-Imperia.

Balthazar.

Lorenzo.

Bell'-Imperia.

Lorenzo.

Enter Hieronimo in his shirt, &c.

[Pg 56]

HIERONIMO.

[He cuts him down.

[Pg 57]

Enter Isabella.

Isabella.

Hieronimo.

Isabella.

Hieronimo.

Isabella.

Hieronimo.

[Pg 58]Enter Pedro and Jaques.

Isabella.

Hieronimo.

Isabella.

Hieronimo.

Jaques.

[Pg 59]

Hieronimo.

Pedro.

Hieronimo.

Pedro.

Hieronimo.

Pedro.

[Pg 60]

Hieronimo.

Isabella.

Hieronimo.

Isabella.

Hieronimo.

Isabella.

Hieronimo.

Isabella.

Hieronimo.

Isabella.

Hieronimo.

[They take him up.

[Hieronimo sets his breast unto his sword.

[Here he throws it from him, and bears the body away.

Enter Andrea's Ghost, with Revenge.

Andrea.

Revenge.

FOOTNOTES:

[88] In time the hardest flint, &c., 1618, '23, '33.

[89] Rule, ditto.

[90] [Compare Watson's "Ecatompathia" (1582), Sonnet 47:

Tyrwhitt pointed out to his friend George Steevens that the same verses occurred in Harl. MS., 3277, and Steevens did not discover, till he had copied them out, that the MS. was nothing more than a copy of the "Ecatompathia," with certain variations of very little consequence.]

[91] Marses, 1618, '23, '33.

[92] [These lines seem to be those intended to be ridiculed by the Duke of Buckingham in the "Rehearsal, iii. 5"—

[93] Her, 1618, '23, '33.

[94] Loves, 1623, '33.

[95] Livings, 1618, '23, 33.

[96] In me in lies, ditto.

[97] How knowest thou that he, 1618, '23, '33.

[98] The cross on the hilt of the sword; in times of chivalry a most sacred oath. See "Hamlet," act i. sc. 5.

[99] Of this, 1618, '23, '33.

[100] This line omitted, ditto.

[101] Sweet, ditto.

[102] Sets, 1618, '23, '33.

[103] Our, 1633.

[104] There on repair, 1618, '23, '33.

[105] The editions of 1623 and 1633 read "Balthazar and Lorenzo alone."—Collier.

[106] The, 1618, '23, '33.

[107] Leave, ditto.

[108] Chiefly dost thou, ditto.

[109] By, 1618, '23, '33.

[110] Our, ditto.

[111] These lines, describing the meeting of the lovers, are, as Mr Whalley observes, tender and natural. See "Enquiry into the Learning of Shakespeare," 1748, p. 48.

[112] Distressed, 1623, '33.

[113] Sportfull, ditto.

[114] Our, 1618.

[115] Let him, 1633.

[116] To command, 1618.

[117] Paine, 1618, '23, '33.

[118] Pleasures, ditto.

[119] Heaven hath, 1618, '23, '33.

[120] To record signified anciently to sing, as in "The Two Gentlemen of Verona," v. 3:—

See also Mr Steevens's note on this passage.

[121] Return, 1618, '23, '33.

[122] Take her aside is printed as a marginal direction, 1618, '23. '33.

[123] Still, omitted, ditto.

[124] Outcry calls, 1618, '28, '33.

[125] This line, though not mentioned, is one of those indicated by Shakespeare in the induction to the "Taming of the Shrew," where Sly says, "Go to thy bed, and warm thee." Thomas Randolph, in his "Conceited Pedlar," 1630, also alludes to it: "Jeronymo rising from his naked bed was not so good a midwife."—Collier.

[126] Chills, 1618, '23, '33.

[127] The, ditto.

[128] That who whilome, 1618.

[129] Here hath, 1618, '23, '33.

[130] Vile, ditto.

[131] [The lines here inserted between brackets were Ben Jonson's additions, made in 1601-2, and first printed in the 4to of 1602. See "Henslowe's Diary," by Collier, pp. 201, 223, and Lamb's "Specimens," edit. 1854, p. 11.]

[132] Chiefly, 1623, '33.

[133] Reveng'd, Allde's edit.

[134] Sorrowes, 1618, '23, '33.

ACT III.

Enter the Viceroy of Portingal, Nobles, Alexandro, Villuppo.[137]

Viceroy.

Nobles.

Villuppo.

Viceroy.

[Pg 63]

Enter Alexandro, with a Nobleman and halberts.

Nobleman.

Alexandro.

Nobleman.

Alexandro.

Viceroy.

Alexandro.

[Pg 64]

Viceroy.

[They bind him to the stake.

Alexandro.

Villuppo.

Enter Ambassador.

Ambassador.

[Pg 65]

Viceroy.

Ambassador.

Viceroy.

Ambassador.

[Gives him letters.

[The King looks on the letters, and proceeds.

Viceroy.

Ambassador.

[Gives him more letters.

Viceroy.

[They unbind him.

Alexandro.

Viceroy.

Alexandro.

[Pg 67]

Villuppo.

Viceroy.

[Alex. seems to entreat.

[Exit Villuppo.

[Pg 68]

Enter Hieronimo.

HIERONIMO.

Enter Pedringano.

Hieronimo.

Pedringano.

Hieronimo.

Pedringano.

Enter Lorenzo.

Lorenzo.

[Pg 71]

Hieronimo.

Pedringano.

Lorenzo.

Hieronimo.

Lorenzo.[153]

Hieronimo.

Lorenzo.

Hieronimo.

[Exit.

Lorenzo.

Pedringano.

Lorenzo.

Pedringano.

Lorenzo.

[Gives him more gold.

Pedringano.

Lorenzo.

Pedringano.

Lorenzo.

Enter Page.

[Pg 73]

Page.

Lorenzo.

Page.

Lorenzo.

Page.

Lorenzo.

Enter Pedringano, with a pistol.

Pedringano.

Enter the Watch.

[Pg 75]

1 Watch.

2 Watch.

3 Watch.

2 Watch.

Enter Serberine.

Serberine.

[Pg 76]

Pedringano.

Serberine.

Pedringano.

[Shoots the dag.[161]

[Pg 77]

1 Watch.

2 Watch.

Pedringano.

[He strives with the Watch.

3 Watch.

Pedringano.

3 Watch.

2 Watch.

1 Watch.

Pedringano.

Enter Lorenzo and Balthazar.

Balthazar.

Lorenzo.

Balthazar.

Lorenzo.

Balthazar.

Lorenzo.

Balthazar.

Lorenzo.

Enter Page.

Page.

Balthazar.

[Pg 80]

Page.

Lorenzo.

Page.

Page.

Balthazar.

Lorenzo.

[Pg 81]

Balthazar.

Lorenzo.

Enter a Messenger, with a letter.

Page.

Lorenzo.

Messenger.

Lorenzo.

Messenger.

Lorenzo.

Messenger.

Lorenzo.

[Exit Messenger.

Page.

Lorenzo.

Enter Boy, with the box.

Boy.

My master hath forbidden me to look in this box; and, by my troth,[171] 'tis likely, if he had not warned me, I should not have had so much idle time: for we men'skind,[172] in our minority, are like women in their uncertainty; that they are most forbidden, they will soonest attempt: so I now.—By my bare honesty,[173] here's nothing but the bare empty box: were it not sin against secrecy, I would say it were a piece of gentleman-like knavery. I must go to Pedringano, and tell him his pardon is in this box; nay, I would have sworn it, had I not seen the contrary. I cannot choose but smile, to think how the villain will flout the gallows, scorn the audience, and descant on the hangman; and all presuming of his pardon from hence. Will't not be an odd jest for me to stand and grace every jest he makes, pointing my finger at this box, as who would[174] say, Mock on, here's thy warrant? Is't not a scurvy jest, that a man should jest himself to death? Alas! poor [Pg 85]Pedringano, I am in a sort sorry for thee; but if I should be hang'd with thee, I cannot[175] weep.

Enter Hieronimo and the Deputy.

Hieronimo.

Deputy.

Hieronimo.

Enter Officers, Boy, and Pedringano, with a letter in his hand, bound.

Deputy.

Pedringano.

[Pg 86]

Hieronimo.

Pedringano.

Deputy.

Pedringano.

Hieronimo.

[Pg 87]Enter Hangman.

Hangman.

Pedringano.

Hangman.

Pedringano.

Hangman.

Pedringano.

Hangman.

Pedringano.

Hangman.

[Pg 88]

Pedringano.

Hangman.

Pedringano.

Hangman.

Pedringano.

Hangman.

Pedringano.

[Pg 89]Hangman.

Pedringano.

Hangman.

Pedringano.

Dost thou think to live, till his old doublet will make thee a new truss?

Hangman.

Ay, and many a fair year after, to truss up many an honester man than either thou or he.

Pedringano.

Hangman.

Pedringano.

Why, sirrah hangman, I take it, that that is good for the body, is likewise good for the soul: and it may be, in that box is balm for both.

[Pg 90]

Hangman.

Well, thou art even the merriest piece of man's flesh, that ever groan'd at my office door.

Pedringano.

Is your roguery become an office, with a knave's name?

Hangman.

Ay, and that shall all they witness, that see you seal it with a thief's name.

Pedringano.

I pr'ythee, request this good company to pray with[180] me.

Hangman.

Ay, marry, sir, this is a good motion. My masters, you see, here's a good fellow.

Pedringano.

Nay, nay, now I remember me, let them alone till some other time; for now I have no great need.

Hieronimo.

Pedringano.

[Pg 91]

Deputy.

Pedringano.

Hangman.

Pedringano.

Hangman.

[He turns him off.

Deputy.

Enter Hieronimo.

Hieronimo.

Enter Hangman with a letter.

Hangman.

O lord, sir: God bless you, sir! the man, sir, Petergad, sir, he that was so full of merry conceits——

Hieronimo.

Hangman.