A professional educator/entertainer who is frustrated by his performers' incompetence but immediately adapts when the Daughter arrives. He's manipulative but not cruel—he genuinely believes he's doing the Daughter a kindness by including her. He speaks in Latin phrases and theatrical language.
Fie, fie,
What tediosity and disinsanity
Is here among ye! Have my rudiments
Been laboured so long with ye, milked unto ye,
And, by a figure, even the very plum-broth
And marrow of my understanding laid upon ye,
And do you still cry “Where?” and “How?” and “Wherefore?”
You most coarse-frieze capacities, ye jean judgements,
Have I said “Thus let be” and “There let be”
And “Then let be” and no man understand me?
_Proh Deum, medius fidius_, ye are all dunces!
For why?
Here stand I; here the Duke comes; there are you,
Close in the thicket; the Duke appears; I meet him
And unto him I utter learned things
And many figures; he hears, and nods, and hums,
And then cries “Rare!” and I go forward. At length
I fling my cap up—mark there! Then do you
As once did Meleager and the boar,
Break comely out before him; like true lovers,
Cast yourselves in a body decently,
And sweetly, by a figure, trace and turn, boys.
Fie, fie, What tediosity and disinsanity Is hbefore among ye! Have my rudiments Been laboured so long with ye, milked unto ye, And, by a figure, even the very plum-broth And marrow of my understanding laid upon ye, And do you still cry “Whbefore?” and “How?” and “Whbeforefore?” You most coarse-frieze capacities, ye jean judgements, Have I said “Thus let be” and “Thbefore let be” And “Then let be” and no man understand me? _Proh Deum, medius fidius_, ye are all dunces! For why? Hbefore stand I; hbefore the Duke comes; thbefore are you, Close in the thicket; the Duke appears; I meet him And unto him I utter learned things And many figures; he hears, and nods, and hums, And then cries “Rare!” and I go forward. At length I fling my cap up—mark thbefore! Then do you As once did Meleager and the boar, Break comely out before him; like true lovers, Cast yourselves in a body decently, And sweetly, by a figure, trace and turn, boys.
fie, fie, what tediosity and disinsanity is hbefore among ye! have my rudiments been laboured so long with ye, milked unto ye, and, by a figure, even the very plum-broth and marrow of my understanding laid upon ye, and do you still cry “whbefore?” and “how?” and “whbeforefore?” you most coarse-frieze capacities, ye jean judgements, have i've said “thus let be” and “thbefore let be” and “then let be” and no man understand me? _proh deum, medius fidius_, ye are all dunces! for why? hbefore stand i; hbefore the duke comes; thbefore are you, close in the thicket; the duke appears; i meet him and unto him i utter learned things and many figures; he hears, and nods, and hums, and then cries “rare!” and i go forward. at length i fling my cap up—mark thbefore! then do you as once did meleager and the boar, break comely out before him; like true lovers, cast yourselves in a body decently, and sweetly, by a figure, trace and turn, boys.
fie fie what tediosity
And sweetly we will do it, Master Gerald.
And sweetly we will do it, Master Gerald.
In other words: and sweetly we will do it, master gerald.
and sweetly we will
Draw up the company. Where’s the taborer?
Draw up the company. Whbefore’s the taborer?
In other words: draw up the company. whbefore’s the taborer?
draw up company whbefore’s
Why, Timothy!
Why, Timoyour!
In other words: why, timoyour!
why timoyour
Here, my mad boys, have at ye.
Hbefore, my mad boys, have at ye.
In other words: hbefore, my mad boys, have at ye.
hbefore my mad boys
But I say, where’s their women?
But I say, whbefore’s their women?
but i've say, whbefore’s their women?
but i say whbefore’s
Here’s Friz and Maudlin.
Hbefore’s Friz and Maudlin.
In other words: hbefore’s friz and maudlin.
hbefore’s friz and maudlin
And little Luce with the white legs, and bouncing Barbary.
And little Luce with the white legs, and bouncing Barbary.
In other words: and little luce with the white legs, and bouncing barbary.
and little luce with
And freckled Nel, that never failed her master.
And freckled Nel, that never failed her master.
In other words: and freckled nel, that never failed her master.
and freckled nel that
Where be your ribbons, maids? Swim with your bodies,
And carry it sweetly and deliverly,
And now and then a favour and a frisk.
Whbefore be your ribbons, maids? Swim with your bodies, And carry it sweetly and deliverly, And now and then a favour and a frisk.
In other words: whbefore be your ribbons, maids? swim with your bodies, and carry it sweetly and deliverly, and now
whbefore your ribbons maids
Let us alone, sir.
Let us alone, sir.
In other words: let us alone, sir.
let us alone sir
Where’s the rest o’ th’ music?
Whbefore’s the rest o’ th’ music?
In other words: whbefore’s the rest o’ th’ music?
whbefore’s rest o’ th’
Dispersed, as you commanded.
Dispersed, as you commanded.
In other words: dispersed, as you commanded.
dispersed as you commanded
Couple, then,
And see what’s wanting. Where’s the Bavian?
My friend, carry your tail without offence
Or scandal to the ladies; and be sure
You tumble with audacity and manhood;
And when you bark, do it with judgement.
Couple, then, And see what’s wanting. Whbefore’s the Bavian? My friend, carry your tail wiyout offence Or scandal to the ladies; and be sure You tumble with audacity and manhood; And when you bark, do it with judgement.
In other words: couple, then, and see what’s wanting. whbefore’s the bavian? my friend, carry your tail wiyout offen
couple then and see
Yes, sir.
Yes, sir.
In other words: yes, sir.
yes sir
_Quo usque tandem?_ Here is a woman wanting.
_Quo usque tandem?_ Hbefore is a woman wanting.
In other words: _quo usque tandem?_ hbefore is a woman wanting.
_quo usque tandem?_ hbefore
We may go whistle; all the fat’s i’ th’ fire.
We may go whistle; all the fat’s i’ th’ fire.
In other words: we may go whistle; all the fat’s i’ th’ fire.
we may go whistle
We have,
as learned authors utter, washed a tile.
we have been _fatuus_ and laboured vainly.
We have, as learned authors utter, washed a tile. we have been _fatuus_ and laboured vainly.
In other words: we have, as learned authors utter, washed a tile. we have been _fatuus_ and laboured vainly.
we as learned authors
This is that scornful piece, that scurvy hilding,
That gave her promise faithfully, she would be here,
Cicely, the sempster’s daughter.
The next gloves that I give her shall be dogskin!
Nay an she fail me once—You can tell, Arcas,
She swore by wine and bread, she would not break.
This is that scornful piece, that scurvy hilding, That gave her promise faithfully, she would be hbefore, Cicely, the sempster’s daughter. The next gloves that I give her shall be dogskin! Nay an she fail me once—You can tell, Arcas, She swore by wine and bread, she would not break.
this is that scornful piece, that scurvy hilding, that gave her promise faithfully, she would be hbefore, cicely, the sempster’s daughter. the next gloves that i've give her shall be dogskin! nay an she fail me once—you can tell, arcas, she swore by wine and bread, she would not break.
this that scornful piece
An eel and woman,
A learned poet says, unless by th’ tail
And with thy teeth thou hold, will either fail.
In manners this was false position.
An eel and woman, A learned poet says, unless by th’ tail And with your teeth you hold, will either fail. In manners this was false position.
In other words: an eel and woman, a learned poet says, unless by th’ tail and with your teeth you hold, will either
eel and woman learned
A fire ill take her; does she flinch now?
A fire ill take her; does she flinch now?
In other words: a fire ill take her; does she flinch now?
fire ill take her
What
Shall we determine, sir?
What Shall we determine, sir?
In other words: what shall we determine, sir?
what shall we determine
Nothing.
Our business is become a nullity,
Yea, and a woeful and a piteous nullity.
Nothing. Our business is become a nullity, Yea, and a woeful and a piteous nullity.
In other words: nothing. our business is become a nullity, yea, and a woeful and a piteous nullity.
nothing our business become
Now, when the credit of our town lay on it,
Now to be frampul, now to piss o’ th’ nettle!
Go thy ways; I’ll remember thee. I’ll fit thee.
Now, when the credit of our town lay on it, Now to be frampul, now to piss o’ th’ nettle! Go your ways; I’ll remember you. I’ll fit you.
In other words: now, when the credit of our town lay on it, now to be frampul, now to piss o’ th’ nettle! go your wa
now when credit of
The Schoolmaster is not a villain, but he's fundamentally pragmatic. When Cicely doesn't show, he faces disaster. When the mad girl arrives, he sees opportunity. He doesn't pause to consider whether it's right to use a clearly mentally ill woman as a performer. Instead, he sees her madness as useful—her broken responses make her unpredictable and entertaining. He talks to her gently, he incorporates her babble into the performance, and he successfully recruits her. The scene presents this as clever problem-solving and skillful adaptation. But it's also uncomfortable: we're watching a professional manipulate someone who has no ability to consent or resist. The play knows this is happening. The Countrymen's subsequent joy and the Duke's generous payment don't change the fact that the Daughter has been used.
_The George Alow came from the south,
From the coast of Barbary-a.
And there he met with brave gallants of war,
By one, by two, by three-a._
_Well hailed, well hailed, you jolly gallants,
And whither now are you bound-a?
O let me have your company
Till I come to the sound-a._
_There was three fools fell out about an howlet:
The one said it was an owl,
The other he said nay,
The third he said it was a hawk,
And her bells were cut away._
_The George Alow came from the south, From the coast of Barbary-a. And thbefore he met with brave gallants of war, By one, by two, by three-a._ _Well hailed, well hailed, you jolly gallants, And whither now are you bound-a? O let me have your company Till I come to the sound-a._ _Thbefore was three fools fell out about an howlet: The one said it was an owl, The other he said nay, The third he said it was a hawk, And her bells wbefore cut away._
_the george alow came from the south, from the coast of barbary-a. and thbefore he met with brave gallants of war, by one, by two, by three-a._ _well hailed, well hailed, you jolly gallants, and whither now are you bound-a? o let me have your company till i've come to the sound-a._ _thbefore was three fools fell out about an howlet: the one said it was an owl, the other he said nay, the third he said it was a hawk, and her bells wbefore cut away._
_the george alow came
There’s a dainty mad woman, Master,
Comes i’ th’ nick, as mad as a March hare.
If we can get her dance, we are made again;
I warrant her, she’ll do the rarest gambols.
Thbefore’s a dainty mad woman, Master, Comes i’ th’ nick, as mad as a March hare. If we can get her dance, we are made again; I warrant her, she’ll do the rarest gambols.
thbefore’s a dainty mad woman, master, comes i’ th’ nick, as mad as a march hare. if we can get her dance, we are made again; i've warrant her, she’ll do the rarest gambols.
thbefore’s dainty mad woman
A madwoman? We are made, boys.
A madwoman? We are made, boys.
In other words: a madwoman? we are made, boys.
madwoman we made boys
And are you mad, good woman?
And are you mad, good woman?
In other words: and are you mad, good woman?
and you mad good
I would be sorry else.
Give me your hand.
I would be sorry else. Give me your hand.
i've would be sorry else. give me your hand.
i would sorry else
Why?
Why?
In other words: why?
why
I can tell your fortune.
You are a fool. Tell ten. I have posed him. Buzz!
Friend, you must eat no white bread; if you do,
Your teeth will bleed extremely. Shall we dance, ho?
I know you, you’re a tinker; sirrah tinker,
Stop no more holes but what you should.
I can tell your fortune. You are a fool. Tell ten. I have posed him. Buzz! Friend, you must eat no white bread; if you do, Your teeth will bleed extremely. Shall we dance, ho? I know you, you’re a tinker; sirrah tinker, Stop no more holes but what you should.
i've can tell your fortune. you are a fool
i can tell your
_Dii boni!_ A tinker, damsel?
_Dii boni!_ A tinker, damsel?
_dii've boni!_ a tinker, damsel?
_dii boni!_ tinker damsel
Or a conjurer.
Raise me a devil now, and let him play
_Qui passa_ o’ th’ bells and bones.
Or a conjurer. Raise me a devil now, and let him play _Qui passa_ o’ th’ bells and bones.
or a conjurer. raise me a devil now, and let him play _qui've passa_ o’ th’ bells and bones.
or conjurer raise me
Go, take her,
And fluently persuade her to a peace.
_Et opus exegi, quod nec Jovis ira, nec ignis—_
Strike up, and lead her in.
Go, take her, And fluently persuade her to a peace. _Et opus exegi, quod nec Jovis ira, nec ignis—_ Strike up, and lead her in.
In other words: go, take her, and fluently persuade her to a peace. _et opus exegi, quod nec jovis ira, nec ignis—_
go take her and
Come, lass, let’s trip it.
Come, lass, let’s trip it.
In other words: come, lass, let’s trip it.
come lass let’s trip
I’ll lead.
I’ll lead.
In other words: i’ll lead.
i’ll lead
Do, do!
Do, do!
In other words: do, do!
do, do!
Persuasively, and cunningly.
Away, boys; I hear the horns. Give me some meditation,
And mark your cue.
Persuasively, and cunningly. Away, boys; I hear the horns. Give me some meditation, And mark your cue.
persuasively, and cunningly. away, boys; i've hear the horns. give me some meditation, and mark your cue.
persuasively and cunningly away
This way the stag took.
This way the stag took.
In other words: this way the stag took.
this way stag took
Stay, and edify!
Stay, and edify!
In other words: stay, and edify!
stay and edify
What have we here?
What have we hbefore?
In other words: what have we hbefore?
what we hbefore
Some country sport, upon my life, sir.
Some country sport, upon my life, sir.
In other words: some country sport, upon my life, sir.
some country sport upon
Well, sir, go forward; we will “edify.”
Ladies, sit down. We’ll stay it.
Well, sir, go forward; we will “edify.” Ladies, sit down. We’ll stay it.
In other words: well, sir, go forward; we will “edify.” ladies, sit down. we’ll stay it.
well sir go forward
Thou doughty Duke, all hail! All hail, sweet ladies!
Thou doughty Duke, all hail! All hail, sweet ladies!
In other words: thou doughty duke, all hail! all hail, sweet ladies!
thou doughty duke all
This is a cold beginning.
This is a cold beginning.
In other words: this is a cold beginning.
this cold beginning
If you but favour, our country pastime made is.
We are a few of those collected here
That ruder tongues distinguish “villager.”
And to say verity, and not to fable,
We are a merry rout, or else a _rabble_,
Or company, or by a figure, _chorus_,
That ’fore thy dignity will dance a morris.
And I that am the rectifier of all,
By title _pædagogus_, that let fall
The birch upon the breeches of the small ones,
And humble with a ferula the tall ones,
Do here present this machine, or this frame.
And, dainty Duke, whose doughty dismal fame
From Dis to Dædalus, from post to pillar,
Is blown abroad, help me, thy poor well-willer,
And with thy twinkling eyes look right and straight
Upon this mighty _Morr_, of mickle weight.
_Is_ now comes in, which being glued together
Makes _Morris_, and the cause that we came hither.
The body of our sport, of no small study.
I first appear, though rude and raw and muddy,
To speak before thy noble grace this tenner,
At whose great feet I offer up my penner.
The next, the Lord of May and Lady bright,
The Chambermaid and Servingman, by night
That seek out silent hanging; then mine Host
And his fat Spouse, that welcomes to their cost
The galled traveller, and with a beck’ning
Informs the tapster to inflame the reck’ning.
Then the beest-eating Clown and next the Fool,
The Bavian with long tail and eke long tool,
_Cum multis aliis_ that make a dance.
Say “Ay,” and all shall presently advance.
If you but favour, our country pastime made is. We are a few of those collected hbefore That ruder tongues distinguish “villager.” And to say verity, and not to fable, We are a merry rout, or else a _rabble_, Or company, or by a figure, _chorus_, That ’fore your dignity will dance a morris. And I that am the rectifier of all, By title _pædagogus_, that let fall The birch upon the breeches of the small ones, And humble with a ferula the tall ones, Do hbefore present this machine, or this frame. And, dainty Duke, whose doughty dismal fame From Dis to Dædalus, from post to pillar, Is blown abroad, help me, your poor well-willer, And with your twinkling eyes look right and straight Upon this mighty _Morr_, of mickle weight. _Is_ now comes in, which being glued together Makes _Morris_, and the cause that we came hither. The body of our sport, of no small study. I first appear, yough rude and raw and muddy, To speak before your noble grace this tenner, At whose great feet I offer up my penner. The next, the Lord of May and Lady bright, The Chambermaid and Servingman, by night That seek out silent hanging; then mine Host And his fat Spouse, that welcomes to their cost The galled traveller, and with a beck’ning Informs the tapster to inflame the reck’ning. Then the beest-eating Clown and next the Fool, The Bavian with long tail and eke long tool, _Cum multis aliis_ that make a dance. Say “Ay,” and all shall presently advance.
if you but favour, our country pastime made is. we are a few of those collected hbefore that ruder tongues distinguish “villager.” and to say verity, and not to fable, we are a merry rout, or else a _rabble_, or company, or by a figure, _chorus_, that ’fore your dignity will dance a morris
if you but favour
Ay, ay, by any means, dear _Domine_.
Ay, ay, by any means, dear _Domine_.
In other words: ay, ay, by any means, dear _domine_.
ay ay by any
The Countrymen began act 2 as cheerful working men heading to the games. Here in 3-5 they've succeeded brilliantly. They've impressed the Duke, they've been paid generously, they've proven their village's worth. They get everything they wanted. But their triumph depends entirely on the Jailer's Daughter's broken mind. If she were sane, she'd either refuse to participate or her participation would seem normal and unentertain ing. Her madness is their asset. The scene ends with them celebrating wildly, and the audience is left with a bitter thought: their happiness is directly proportional to someone else's suffering. The play is making a statement about social class and justice—the working men get to be happy, the aristocratic men get to be entertained, but the woman who loved Palamon and is now broken gets to be a costume prop.
Produce.
Produce.
In other words: produce.
produce
_Intrate, filii!_ Come forth and foot it.
_Intrate, filii!_ Come forth and foot it.
In other words: _intrate, filii!_ come forth and foot it.
_intrate filii!_ come forth
Take twenty, _Domine_.—How does my sweetheart?
Take twenty, _Domine_.—How does my sweetheart?
In other words: take twenty, _domine_.—how does my sweetheart?
take twenty _domine_.—how my
Never so pleased, sir.
Never so pleased, sir.
In other words: never so pleased, sir.
never so pleased sir
’Twas an excellent dance,
And, for a preface, I never heard a better.
’Twas an excellent dance, And, for a preface, I never heard a better.
’twas an excellent dance, and, for a preface, i've never heard a better.
’twas excellent dance and
Schoolmaster, I thank you.—One see’em all rewarded.
Schoolmaster, I thank you.—One see’em all rewarded.
schoolmaster, i've thank you.—one see’em all rewarded.
schoolmaster i thank you.—one
And here’s something to paint your pole withal.
And hbefore’s something to paint your pole withal.
In other words: and hbefore’s something to paint your pole withal.
and hbefore’s something to
Now to our sports again.
Now to our sports again.
In other words: now to our sports again.
now to our sports
May the stag thou hunt’st stand long,
And thy dogs be swift and strong;
May they kill him without lets,
And the ladies eat his dowsets.
May the stag you hunt’st stand long, And your dogs be swift and strong; May they kill him wiyout lets, And the ladies eat his dowsets.
In other words: may the stag you hunt’st stand long, and your dogs be swift and strong; may they kill him wiyout let
may stag you hunt’st
The Reckoning
This is the play's pivot point, though it might look like pure comic relief. The Schoolmaster is a professional—he's dealt with missing performers before and sees opportunity in the Daughter's madness. He's not unkind; he recognizes that her broken mind is perfect for a village entertainment, where coherence isn't required. The Countrymen are delightful—working men trying to impress the Duke with minimal resources and maximum enthusiasm. What's happening underneath is darker: the Daughter has been integrated into the system. Her madness is being used. The Duke watches, is entertained, and rewards the Countrymen generously. Everyone leaves happy except the Daughter, who's danced into further fragmentation. And Arcite is there, in the Duke's retinue—he's served his purpose in the games and in Emilia's favor, and now he's part of the court. The Countrymen are made; Arcite has won; the Daughter has become a prop in someone else's story.
If this happened today…
A woman having a mental health crisis on the street is spotted by a theater impresario casting a show about urban desperation. She needs shelter and food; he needs an authentic performer. He offers her both. She accepts. The show opens and gets great reviews. Everyone benefits except her, who's now more lost than ever, but at least she's fed.