61–2 i.e. heaven is so generous that, even where only the foundations of possible decency exist in particular souls, grace will flood them like a sea until it renders them wholly chaste

62 ’Tis heaven’s bounty is. This is glaringly inappropriate, given the witchcraft Sebastian has used to secure his happy ending.

65 Ends ed. (ever MS)

65–6 ed. (one line in MS)

67–8 That … greatness i.e. it is preferable that a meanly born person should suffer than the duchess, who is not only born great but also has a great spirit

74 done’t ed. (done MS)

77 tumult the crowd risen in rebellion

79 love knots knot or bow of ribbon as a love token; also describes the ‘knot’ of the duke’s folded arms

87 piece masterpiece (ironic)

91 His injury to the duchess, i.e. the abuse of her father’s skull

92 Perform ed. (performes MS)

94 an one a union, as one

101–2 The duchess is willing to admit to murder but not to allow her chastity to be impeached. Cf. The Changeling V.iii.60–82.

104 Cf. Tilley T 333: ‘Time reveals (discloses) all things’.

107 known sexually

115 blinded blindfolded

116–17 The duchess and Amoretta, like Sebastian, both use and decry prostitutes.

119 scarves the blindfold Almachildes had to wear in III.i

123 The preposterous nature of this line and the duke’s next speech qualifies the ‘happiness’ of the play’s ending.

125 honour The duchess’s sexually intact state is again held to be far more important than her attempts at murder.

126 practice plot, conspiracy

dies is forgotten

Appendix

1 See John Wilson, ‘In a maiden time professed’, Musica Brittanica 33, ed. Ian Spink (p. 45), and Robert Johnson (?), ‘Come away, Hecate!’, The English Lute Songs II, 17, ed. Ian Spink (1974), pp. 58–61. I am grateful to Ian Spink and Stainer and Bell for permission to reprint the music.

Footnotes

1 The chief facts of Middleton’s life have been set forth in two articles by Mark Eccles: ‘Middleton’s Birth and Education’, RES 7 (1931), 431–41, and ‘ “Thomas Middleton A Poett” ’, SP 54 (1957), 516–36. Virtually all the facts in this commentary derive from Eccles. I have also found useful R. C. Bald, ‘Middleton’s Civic Employments’, MP 31 (1933), 65–78; Mildred G. Christian, ‘A Sidelight on the Family History of Thomas Middleton’, SP 44 (1947), 490–6; and P. G. Phialas, ‘Middleton’s Early Contact with the Law’, SP 52 (1955), 186–94.

2 See pp. xiv-xv.

3 Macbeth, ed. Nicholas Brooke (1990), p. 65

4 Andrew Gurr, The Shakespearean Stage, 1574–1642, 2nd ed. (1987), p. 170

5 W. W. Greg and F. P. Wilson, The Witch, Malone Society Reprint (1949), p. viii

6 James’s ‘Preface to the Reader’ makes it clear he is disputing ‘against the damnable opinions’ of Scot.

7 For The Atheist’s Tragedy as source see Anne Lancashire, ‘The Witch: Stage Flop or Political Mistake?’ in ‘Accompaninge the Players’, Essays in Celebration of Thomas Middleton, 1580–1980, ed. Kenneth Friedenreich (1983), pp. 166–8, and David George, ‘The Problem of Middleton’s “The Witch” and its Sources’, NQ 212 (1967), 209–11. Also see George for an account of Middleton’s use of Cinthio.