The Arden edition notes the following: "Pompey will probably mime the characters he mentions. They furnish some lively sepicmens of Jacobean 'men about town', whose activities the government was seeking to restrain by such measures as the Statute of Stabbings." In the introductory notes, the Arden discusses more fully statutes such as these: "A proclamation dtaed 16 September 1603 called for the pulling down of houses and rooms in the suburbs of London as a precaution against the spread of the plague by 'dissolute and idle persons'. The measure, which was strictly enforced during the ofllowing months, bore heavily upon the numerous brothels and gaming houses which proliferated on the outskirts of the city. ... Brawling in the streets of London amongst soldiers and 'roaring boys', aggravated by feuds between Englishmen and Scots, was strictly prohibited and punished under the 'Statute of Stabbing' passed during the parliamentary seesion of 19 March - 7 July 1604. |
I have as many friends and acquaintances here |
brothel, house of prostitution |
the "customers" (clients at the brothel) are all allegorical representations of "types" or kinds of Jacobean "men baout town" who have failed at being the gallants they tried to be. |
An allegorical name indicating impetuosity and undue haste |
The term refers to the practice by which moneylenders could avoid the limits on interest by accepting part of the loan payment in the form of goods or commodities which they were then to sell. These goods, however, were often inferior and usually brought in only a portion of the payment for the loan. Rash has agreed to accept "brown paper" and "ginger" as part of the payment, valuing them at 197 pounds, which on resale has brought in little more than three pounds. |
course wrapping paper, of little value |
"old" implies stale or inferior. Ginger was considered an aphrodisiac. |
perhaps as a result of the plague in 1603 |
Another allegorical name, referring to elaborate or exaggerated leaps during dancing. |
velvet |
One who deals in textile fabrics, esp. a dealer in silks, velvets, and other costly materials (OED). |
a play on words: 1) suits of clothes and 2) law suits |
denounces, accuses him of being |
either 1) dizzy, mentally confused, giddy, or 2) "dicey," a gambler or dice player |
one who swears extravagantly, perhaps also referring to a lover who swears fidelity to his mistress (probably without meaning it) |
simulating gold |
a cheapskate. He will not pay his servant what he is worth (he "starves" his "lackey") |
The rapier and dagger supplanted the sword and buckler as the weapons of choice for duels in the seventeenth century. |
The reference here has not been satisfactorily explained. The reference might be, as some suggest, to a usurer, often portrayed as a gaunt man, who is contrasted with corpulence of "lusty Pudding," the gallant who eats too much. Lever, in the Arden, suggests that the reference is to a "bawd-gallant." There might also be a reference to the loss of hair that often accompanied venereal disease. |
While the Folio has "Forthlight," most editors emend the name to "Forthright," which carried the sense of charging straight ahead in jousting ("tilting"). |
Shoe-tie. The reference is to the ornamental and ostentatious ribbons used to tie shoes. |
The reference is not clear. The Arden suggests "a tapster who falsified the capacity marks on ale-pots." The New Cambridge suggests that "a half-can might have had the colloquial sense of the modern English 'half-pint', applies to a person of diminutive size. 'Halfcan' may also imply that he is unable to take his liquor, becoming quarrelsome after only one drink." |
clients who frequented prostitutes |
The cry of prisoners begging for food through the prison grates. |
A term of address used to men and boys, expressing contempt, reprimand, or assumption of authority on the part of the speaker. (OED) |
A play on the word "rise": 1) awaken, get up from bed; 2) ascend the scaffold to be hanged. |
The reference is to the "eternal sleep" of death. |
Straw was often strewn on the floor of cells to help prisoners sleep. At times, also, straw was sewn into primitive mattresses. |
While Pompey has been speaking about execution by hanging, here he speaks of beheading. In 2.1 Escalus had spoken of the two together. Lever notes that hanging was for common felons; beheading, for gentlemen. |
enter briskly into (OED) |
early |
spiritual (as in Holy Ghost) |
A thick piece of wood cut to a suitable length for fuel; a (thick) stick used as a weapon. (OED) |
faith, religion (perhaps referring to the Duke, who is dressed as a friar) |
a section of the prison, probably housing several prisoners |
a heart "hard as stone" and therefore impervious to spiritual teaching |
Many editors suggest that this should be part of the Provost's speech (a mistake, perhaps, by the typesetter), for a friar would not give instructions to the executioners, especially ones which contradict his sentiments just stated. |
unsuitable |
that is, to execute him, with death being seen as a journey |
Ragozine's name is perhaps a reference to Ragusa, a port on the Adriatic. Lever, in the Arden, notes that the "imprisoning of pirates was topical in view of the 1604 proclamations against piracy and the imprisonment of Raleigh." |
Thus there would be no need to shave his head and beard to make him look like Claudio. |
disregard, take no notice of (OED) |
One rejected by God; one who has fallen away from grace or religion; one lost in sin; one whose character is utterly bad. (OED) |
in a suitable frame of mind (for his execution); spiritually prepared |
an event; anything that happens. The word did not necessarily imply chance, though it did often have the sense of the event being unexpected. |
Set in advance |
immediately, at once |
reatin, keep alive |
diurnal |
The Duke probably intends to note that the sun shines only on those persons ("generation") who are outside ("yond" or yonder) the dark prison. |
I am completely at your service; I put myself under your orders and protection (and therefore am blameless for my actions). |
instructions, orders |
This entire passage is troublesome, for it contradicts what will happen in the rest of the play. Some, like Lever, have suggested that these inconsistencies indicate a hasty revision. Here, for example, the "him" might refer not to Angelo but rather to Varrius. |
sacred spring or fountain |
Cooly; advancing step by step in a methodical manner |
due observation of proper procedures |
suitable, appropriate (OED) |
talk, confer |
that are for your ears only |
that is, comfort |
probably "uncommunicative," (OED) but also possibly "strict, rigorous, severe" (OED), definitions which carry with them religious overtones |
a figure of speech taken from horse training: to put a horse through its paces |
have your desires/wishes |
as much as your heart desires |
fully inform |
that is, "to his face" |
the repetition serves to intensify: "right to the heart" or "right to the point" |
bound |
go |
corrosive, irritating, fretful |
turn you aside from the right course of action |
that is, "sick at heart" or disheartened |
compelled |
water and bran bread (the coarsest kind) were often used to prevent lechery or as a punishment for lechery (as in the case of Costard in Love's Labours Lost) |
to save my head (from execution, as with Claudio) |
abundant, perhaps with sexual innuendos |
lead me to commit lechery |
fanciful, irrational. "Old" is a statement of familiarity, not age. |
Lucio means that the Duke is one to keep secret assignations with prostitutes. But Lever notes, in the Arden, that "the phrase had unconscious irony; the Duke visits obscure places in order ot learn the state of his people..." |
would have |
beholden, obliged, indebted |
is not to be found. That is, his life is not as you report it to be. |
one who chases women |
prostitute |