77 vantage … up opportunity to mount – the horse, the Hostess or the gallows

  71 all] Q (al); all: all F 74 SD] Oxf1 75 a’nights] Q (a nights); o’ Nights F

  79 temper disposition

  exclamation outcry or protest

  80 enforce compel, oblige (OED v. 10)

  80–1 to so … course to resort to such crude means. The Justice adopts Falstaff’s imagery of horseback riding.

  81 come … own get what is owed her

  86 parcel-gilt partly gilded, especially common in silverware such as bowls and cups whose inner surfaces would be gilt (OED adj.): cf. 1.2.149–50n. Weis suggests that a vow to marry made on such a goblet travesties the holy sacraments, the goblet possibly substituting for a chalice. Melchiori observes that the wealth of detail mustered by the Hostess may be prompted by her notion of what a legal deposition demands. Certainly this rambling speech captures her bourgeois social aspirations and her fascination with material possessions.

  Dolphin chamber Rooms at taverns and inns were frequently distinguished by names. Cf. the Half-moon and Pomegranate in 1H4 2.4.26, 36.

  87 seacoal generic term for mineral coal, as opposed to charcoal, possibly so named because it was transported to London by sea, usually from Newcastle (OED sb. 2a). There was social prejudice against coal fires at this time because they were thought to be more unpleasant and unhealthy than wood fires, though economic pressures were extending their use. According to Andrew Hope, a document dated 1615 observed that ‘the poorer sort of the inhabitants of Bristol do use to burn stone coal alias sea coal in their houses … not being able to buy wood which is very dear and scarce to be had’. The Hostess’s using coal for heat may thus provide a telling detail about the social standing of her establishment.

  88 Wheeson northern or midland dialect for Whitsun, or Pentecost, the seventh Sunday after Easter commemorating the descent of the Holy Spirit upon the Apostles (Acts, 2). Cf. the Hostess’s similar pronunciation of Peesel for Pistol at 2.4.162.

  broke cracked or wounded (OED break v. 5b). The fact that the Hostess washes Falstaff’s wound (90) indicates that this was no small box in the ear.

  89 liking likening, comparing (OED like v.2 1b). Though the word may reflect the Hostess’s dialect, the Q compositor may have misread ‘lik’ning’, the form printed in F, owing to confusion over minims.

  78 What] Q; Fy, what a F; Fie, what Rowe 82 SD] this edn 87 upon] Q; on F 88 Wheeson] Q; Whitson F 89 liking his father] Q; lik’ning him F

  singing … Windsor This alludes to a plot to dethrone Henry IV as a pretender. In the first year of his reign, a priest impersonating Richard II took part in the Abbot of Westminster’s conspiracy to seize Henry at Windsor, where he was celebrating Christmas (Holinshed, 3.514–15; Stow, Annales, 515). The priest has been identified as John Magdalen, who, although not a professional musician (singing man), was a chaplain of King Richard. The identification of him as a musician may have come from Sir Philip Sidney, whose Discourse to the Queen’s Majesty (1580) warns Elizabeth against pretenders to the throne: ‘Lett the singing man in Henry the IVths time … be sufficient to prove that occasions geve mindes scope to stranger thinges then ever would haue ben imagined’ (Feuillerat, 3.53). Singing men of royal and university chapels were often satirized as debauchees, as in Earle’s Microcosmographie (1628; no. 69): ‘Their pastime or recreation is prayers, their exercise drinking, yet herein so religiously addicted that they serve God oftest when they are drunke’. Cowl (Ard1) and Humphreys (Ard2, App. 3) review the evidence cogently.

  91 ‘my lady’ As the wife of a knight, the Hostess would gain the title of Lady, such social distinctions apparently of as great value to her as to Sir John. In his Description of England (1577; 2.2) William Harrison asserts, ‘How soeuer one be dubbed or made Knight, his wife is by and by called Madame, or Ladye’ (115). The absurd prospect of the Hostess’s becoming a Lady glances obliquely at the threats to gentility made by the merchant class at this time.

  92 goodwife Keech A civil form of address, goodwife simply means mistress of the house. A keech was a lump of suet which a butcher would roll up for tallow. In H8, Wolsey is called ‘a keech’ for being a butcher’s son (1.1.55).

  93 gossip friend or neighbour, but also a woman who delights in idle talk (OED sb. 2a, 3). Both would apply to the Hostess.

  94 mess small quantity (OED sb. 1c)

  95, 96 whereby whereupon (OED adv. 3b)

  97 green fresh, unhealed (OED adj. 10a)

  98 familiarity familiar; a stock malapropism also occurring in Munday’s John a Kent and John a Cumber (c. 1590), 347–8 (Shaaber, Variorum)

  100 madam a title given to a knight’s wife. Cf. 91n.

  97 thou not] Q; not thou F 98 so familiarity] Q; familiar F

  102 book-oath oath made on the Bible

  104 her … you Falstaff implies that the Hostess has accused the Justice of fathering her child, a baldly provocative attempt to discredit her testimony.

  105 in good case well off financially, or in good physical and mental health (OED case sb. 5a, b). Falstaff implies that a sudden change in station has caused the Hostess to lose her wits (distracted her, 106).

  109 true cause truth of the matter

  110 brow facial expression, countenance (OED sb. 5b, c)

  112 level judicious, balanced, impartial

  115 in purse … person financially and sexually. By cutting the speech at and made her, F sanitizes it.

  118–19 done with her F’s omission of with lessens the likelihood of a sexual reading. For do as a bawdy pun, see 40–1n.

  119–20 sterling … current When used to describe coins, both adjectives mean genuine or authentic as opposed to counterfeit. In them the Justice continues his ‘numismatic punning’ (Lee) begun at 1.2.224–5. Paired with repentance, current means both present and having the quality of current coin – that is, of money in circulation (OED adj. 5).

  121 sneap rebuke; possibly dialectical for ‘snub’

  103 mad] Q (made), F 113 You … me,] Q; I know you ha’ F 114–15 and … person.] Q; not in F 116 Yea, in truth] Q; Yes in troth F 117 Pray thee] Q; Prethee F SD] Oxf1 119 with] Q; not in F

  122–3 You … sauciness Falstaff exculpates himself by employing a paradiastole, a rhetorical figure by which, in George Puttenham’s words, ‘we do excuse our own vices, or other men’s whom we defend, by calling them virtues’ (154). Shakespeare apparently drew from Thomas Hoby’s translation of Castiglione’s The Courtier, which observes that everyone praises or blames ‘according to his fancie, always covering a vice with the next virtue to it … as in calling him that is saucie bolde’ (see Skinner, 161–72).

  123 make curtsy pay obeisance or bow to one’s superior (OED courtesy sb. 8, curtsy sb. 2, 3)

  124–5 2my … remembered though I am mindful of the respect due to you. F’s substitution of ‘your’ for my is clearly an error.

  125 your suitor one who asks you (sues) for favours. The imagery of courtship continues from make curtsy.

  126 deliverance release

  128 as having power as if you were entitled

  129 answer … of behave in a way that befits

  131.1 GOWER Melchiori suggests that the name may have been taken from a paragraph about the poet John Gower in Holinshed’s life of Henry IV (3.541). Shakespeare used the name again for his English captain in H5 and for the Chorus in Per.

  135, 137 As … gentleman The conversation between Falstaff and the Hostess has already begun. His twice-repeated oath – presumably that he will repay the Hostess what he owes her – has little credit. The Justice has instructed Falstaff to satisfy (129) the Hostess by repaying his debts and perhaps by marrying her; Falstaff, however, simply begs her for more money.

  123 make] Q; not in F 124 my] Q; your F 126 do] Q; not in F deliverance] Q; deliu’rance F 129 th’effect] Q; the effect F 131 SD] Capell ([taking her aside.); Aside. Pope 131.1] Q (after 134) (enter a messenger); Enter M. Gower F 133 Harry] Q; Henrie F 134 SD] this edn; [delivering a packet. Capell

  136 The Hostess is probably expressing scepticism, for Falstaff has not kept such oaths in the past; but she may simply be acknowledging that she has already heard his promise.

  139 By … on comic confusion of two oaths: by the ground I tread on, and by this heavenly light

  140 fain content (OED adj. 2)

  plate tableware: utensils and drinking or serving vessels made most often of silver or gold (OED sb. 16)

  142 Glasses … drinking Falstaff, eager for a loan, attempts to rationalize the Hostess’s having to pawn her plate and tapestries by reassuring her that such things are out of fashion. In the late 16th century, glass was replacing metal (plate) as the best quality or most proper (only) drinking ware. In his Description of England (1577; 2.6), William Harrison reports that ‘our gentilitie as lothing those mettals [gold and silver] … do now generallie choose rather the Venice glasses both for our wine and beere… . And as this is seene in the gentilitie, so in the wealthie communaltie the like desire of glasse is not neglected… . The poorest also will haue glasse if they may’ (147). With her aspirations to bourgeois respectability, the Hostess certainly would not want to be without.

  143 drollery comic painting often depicting coarse goings-on at taverns, country fairs or soldiers’ quarters

  143–4 the story … prodigal Recorded in Luke, 15.11–32, the parable of the Prodigal Son was a popular subject for Elizabethan wall decorations, here sandwiched irreverently between two more vulgar subjects.

  144 German … waterwork scenes of boar- or stag-hunting painted on cloth to imitate tapestry (OED waterwork sb. 4). The importation of such mass-produced art from the Continent drew fire from those who would protect English jobs. Hall (586–7) records complaints made during the reign of Henry VIII that ‘the Dutchemen bryng ouer … lether and Weynskot ready wrought, with … painted clothes so that if it were wrought here, Englishmen mighte haue some worke & lyuynge by it’.

  145 bed-hangers cheap curtains around a bed

  136 Faith] Q; Nay F 143 slight] Q (sleight), F 144 German] Q (Iarman), F (Germane) 145 bed-hangers] Q; Bed-hangings F

  146 tapestries DSK notes that ‘tapestrie’ was occasionally used as a plural form, as in Q: see, for example, John Baret’s Alvearie (1574), which refers to ‘tapestrie, or hangings’.

  ten pounds The amount Falstaff begs from the Hostess here is far greater than the 30 shillings he had bid her fetch when proposing marriage to her (see 101).

  147 an … humours if it were not for your moods (OED humour sb. 6c)

  148 wash thy face evidence that the Hostess has been crying

  148–9 draw the action withdraw the lawsuit (OED draw v. 37)

  151 set on put up, incited (OED set v. 148c). Whom Falstaff suspects of inciting her to have him arrested, he does not say.

  152 twenty nobles The noble being a gold coin valued at one-third of a pound, the Hostess tells Falstaff that she is prepared to give him only six pounds 13 shillings. Weis is inaccurate in calculating that her offer is, ironically, exactly equivalent to the ten pounds he has requested.

  155 Let it alone ‘Forget it.’

  make other shift manage some other way (Onions; OED shift sb. 6b). Falstaff is attempting to make the Hostess feel guilty, and his strategy works. In the next line, she capitulates.

  156 still always

  159 all together everything you owe. The Hostess wistfully asks for this reassurance from Falstaff before going to fetch him more money.

  160 Will I live? ‘As sure as I live.’

  161 Hook on ‘Stick with her.’ Falstaff instructs Bardolph to make sure the Hostess will return with the money.

  146 tapestries] F; tapestrie Q ten pounds] x.£ Q; tenne pound F 147 an ’twere] Q (and twere); if it were F there’s] Q; there is F 149 the] Q; thy F 150 Dost … Come,] Q; not in F 152 Pray thee] Q; Prethee F 153 i’faith … loath] Q; I loath F 153–4 so … me] Q; in good earnest F 157 though] Q; although F 159 all together?] Rowe; al together. Q; al-together? F 160 SD] Capell ([to Bard.)

  162 Doll Tearsheet Doll was a familiar name for whores in plays of this period: cf. Dol Common in Jonson’s The Alchemist and Doll Target in Dekker’s 2 Honest Whore. Her surname reveals both her profession and her temperament. Like the names of other ahistorical characters who appear in this play – Fang, Snare, Pistol, Silence, Shallow and the Gloucestershire recruits – hers suggests that Shakespeare was drawing as never before from a tradition of comically descriptive naming which would soon be tapped by Jonson in his comedies of humours. On the dehumanizing use to which Shakespeare puts this tradition in 2H4, see A. Barton, 108–10.

  164 SD *Q’s placement of the SD after 161 seems to be an error. Perhaps the compositor misplaced a SD written in the margin opposite 161–4, or conceivably, if the error originated in a holograph, Shakespeare added 162–4 as an afterthought but neglected to move the SD.

  Sergeant While in Q Fang alone is designated by ‘Sergeant’, the list of ‘Actors Names’ in F identifies ‘Phang, and Snare’ as ‘2 Serieants’.

  165 better Q’s word suggests that the Justice is understating the case: the news conveyed in the letter is not good. F’s ‘bitter’ makes his sentiment more explicit.

  167 tonight i.e. last night (OED adv. 3)

  168 *Basingstoke F’s substitution for Q’s ‘Billingsgate’, which is the London fish market (and would make no sense as a place for Henry to spend the night), Basingstoke is a market town 46 miles from London on the Great West Road. The King’s sojourn there is mentioned by none of the sources, but Shakespeare may have wished to convey that the King was returning from his Welsh campaign.

  169–79 The Justice ignores Falstaff’s attempts to butt into his conversation with Gower. When, in exasperation, he finally acknowledges Falstaff’s interruption, Falstaff pays him back by speaking only to Gower – the dinner invitation is a ruse – and by ignoring the Justice’s attempt at censure. He plays a comic game of tit-for-tat.

  171–4 Shakespeare deviates from Holinshed, who reports that the King ‘left his iournie into Wales, and marched with all speed towards the north parts’ (3.529) where the more dangerous adversaries were mustering their forces. There is no evidence of his returning to London beforehand, nor of the division of troops mentioned here.

  164 SD] Q (exit hostesse and sergeant.) (after 163); [Exeunt Host. Bar. Officers, and Boy. Capell 165 SD] this edn better] Q; bitter F 166 my lord] Q; my good lord F 167 SD] this edn tonight] Q; last night F 168, 172 SPs] Rowe; Mess. Q; Mes. F 168 Basingstoke] F; Billingsgate Q 171 SD] this edn

  173 my … Lancaster Prince John. See 1.3.82n.

  180 entreat … me Modern usage would require an infinitive such as ‘to go’ after you.

  182 wait upon accompany, attend (OED wait v. 14k)

  184–5 *Q’s error in printing as irregular verse lines what is patently prose (and reads as prose in F) may have arisen when a compositor assumed that the Justice would continue to speak in verse, as he has with Gower at 172–7.

  being … go Falstaff has been commanded to recruit soldiers on his way north to York. The fact that he takes a detour west to Gloucestershire to do so (3.2) strongly suggests that the recruiting scene may originally have been written for an earlier draft of a H4 play describing Falstaff marching to Shrewsbury via Coventry with a ‘charge of foot’ (1H4 4.2.1–47), and during which march a stop in Gloucestershire would have made more sense geographically.

  185 take soldiers up enlist, recruit (OED take v. 93j)

  176 SD] this edn 177 Gower] Q; Gowre F (also at 180, 186) 184–5] prose F; Q lines long, / vp / go. /

  185 counties] Q; Countries F

  189–90 Master … me a humorous irony: by answering Gower, who did not ask him the question, rather than the Justice, who did, Falstaff gets away with calling the latter a fool for having taught him, by example, to ignore the person speaking to him (these manners, 187).

  189 become me not are impolite or unsuitable (OED become v. 8b)

  190–1 right fencing grace proper art of fencing

  191 tap for tap A tap is a light but audible blow (OED tap sb.2 1); here, metaphoric – ‘Tip for tap’ (Dent, T352a) or ‘Tit for tat’ (Tilley, T356).

  fair on good terms, the implication being, ‘Now we’re even.’

  192 lighten a pun: (1) enlighten spiritually (OED v.2 3), or (2) reduce in weight, followed by a play on great meaning fat. Cf. the play on great and slender at 1.2.141–4.

  192 SD Presumably the three exit through two doors: Falstaff through one, the Justice and Gower through the other. On the question of whether the stage required two or three doors, see 1.1.0.1, 1 SDn.

  2.2 Though editors tend to locate this scene in a room at the Prince’s residence in London, a location is never specified in the text: it must be private enough for Harry and Poins to have an intimate conversation, but public enough for them to observe the approach of Bardolph and the Page (66–7). The empty stage would have served both purposes and made the need to identify a specific location moot.

  0.1 *The inclusion of the phantom ‘sir Iohn Russel, with other’ in Q indicates that the compositor was working from unrevised copy in which Shakespeare, as he often did, listed characters who would not enter until later or for whom he then decided not to write a part. In an earlier draft of a H4 play, Russell was probably the name given to Bardolph, who enters later in this scene and is listed in F’s anticipatory entry in place of Russell. If, as Melchiori argues, this short section of Q was set from a sheet of that earlier draft, it would explain why Sir John Russell is silently supplanted by Bardolph at Q 66. Morgann notes that in Famous Victories, Harry’s boon companions – Ned, Tom and Oldcastle – are three times called Knights in SDs (at 5.82, 9.6 and 9.51), and that this may have led Shakespeare to envision three such titled companions for Harry when working on an early draft of H4. Russell was the family name of the Earls of Bedford, as Harvey (1H4 1.2.154) was that of the third husband of the Earl of Southampton’s mother: these names might have been altered to Bardolph and Peto at the same time Oldcastle was changed to Falstaff, and for the same reason.