Endnotes + 

This distinguished Florentine, degraded into a personification of unscrupulous policy, was frequently appealed to on the Elizabethan stage ↩ + 

The Due de Guise, who had organised the Massacre of St. Bartholomew in 1572, and was assassinated in 1588. ↩ + 

Old ed. “Samintes;” modern editors print “Samnites,” between whom and the “men of Uz” there can be no possible connection. We have Saba for Sabraea in Faustus [see p. 195]. —⁠Bullen ↩ + 

Count. ↩ + 

Seldom seen. ↩ + 

It was an ancient belief that a suspended stuffed halcyon (i.e. kingfisher) would indicate the quarter from which the wind blew. ↩ + 

Enter them at the custom-house. ↩ + 

Freight. ↩ + 

Scrambled. ↩ + 

The scene is here supposed to be shifted to a street or to the Exchange. ↩ + 

I.e. Foolish. ↩ + 

Misquoted from Terence’s Andria, iv. 1, 12. The words should be “Proximus sum egomet mibi.” ↩ + 

The scene is supposed to be inside the council-house. ↩ + 

Bashaws or Pashas. ↩ + 

I.e. Haply. ↩ + 

Refuses. ↩ + 

Convert. ↩ + 

Violent emotion. ↩ + 

Dyce suggests that on the Jews’ departure the scene is supposed to shift to a street near Barabas’s house. ↩ + 

I.e. Repair. ↩ + 

Foolish. ↩ + 

Portuguese gold coins. ↩ + 

I.e. Sex. ↩ + 

The old edition has † inserted here, presumably to indicate the sign that Barabas was to make with his hand. ↩ + 

The scene is before Barabas’s house, now turned into a nunnery. ↩ + 

We have a kind of echo of this in Shylock’s “My daughter, O my ducats,” etc. ↩ + 

I.e. Treat. ↩ + 

Freight. ↩ + 

I.e. Did not lower our flags. ↩ + 

Old ed. “Spanish,” ↩ + 

Old ed. “left and tooke.” The correction was made by Dyce. ↩ + 

Established. ↩ + 

The scene is the market-place. ↩ + 

This recalls Shylock’s “Still have I borne it with a patient shrug.” ↩ + 

Defiled. ↩ + 

Pieces of silver coin. ↩ + 

An allegorical character in the old moralities. ↩ + 

I.e. Break off our conversation. ↩ + 

Barabas was represented on the stage with a large false nose. In Rowley’s Search for Money (1609) allusion is made to the “artificiall Jewe of Maltaes nose.” ↩ + 

Use. ↩ + 

I.e. In good earnest. ↩ + 

Dyce supposes a change of scene here to the outside of Barabas’s house. ↩ + 

Affianced. ↩ + 

A piece of money with a cross marked on one of its sides, like the Portuguese cruzado. ↩ + 

Satisfied. ↩ + 

The scene is the outside of Bellamira’s house, and it is suggested that she makes her appearance on the verandah or on a balcony. ↩ + 

The scene is a street. ↩ + 

Brave. ↩ + 

The scene is a room in Barabas’s house. ↩ + 

“Prior” in the old editions, which both Dyce and Bullen follow. Cunningham substituted “governor,” which is evidently correct. ↩ + 

The scene is still within Barabas’s house, but an interval of time has elapsed. ↩ + 

I.e. Portendeth. ↩ + 

I.e. In short. ↩ + 

The juice of ebony, formerly regarded as a deadly poison. ↩ + 

The scene is the interior of the council-house. ↩ + 

Cannon. ↩ + 

The scene is the interior of the convent. ↩ + 

I.e. Hated. Formerly the word was in common use in this sense. ↩ + 

Artifice. ↩ + 

This was a crime of which the Jews were often accused, especially, according to Tovey (in his Anglia Judaica), when the king happened to be in want of money. ↩ + 

The scene is a street in Malta. ↩ + 

I.e. Equal to. ↩ + 

Attics; lofts (Latin, solarium). The word is still in use in some parts of England and in legal documents. ↩ + 

Ithamore. ↩ + 

Convent (as in “Covent Garden”). ↩ + 

The scene is a room in the house of Barabas. ↩ + 

The old edition has “save,” but from Barabas’s retort, “You would have had my goods,” the word is most likely a misprint. ↩ + 

It would appear from the following scene that the body was stood up outside of the house. ↩ + 

The scene is outside Barabas’s house. ↩ + 

Succeed. ↩ + 

The scene is a verandah of Bellamira’s house. ↩ + 

Brave. ↩ + 

The verse which criminals had to read to entitle them to “benefit of clergy,” and which was usually the first verse of the 51st Psalm. ↩ + 

I.e. Looking on. ↩ + 

Sermon. ↩ + 

Mustachios. ↩ + 

A derogatory expression often found in writers of this period. ↩ + 

Hasty. ↩ + 

A quibble upon “realm” and “kingdom”; “realm,” which was often written without the l being commonly pronounced “ream.” ↩ + 

A musical term. ↩ + 

Dyce suggests that the scene is a room in Barabas’s house, but as Barabas presently enquires of Pilia-Borsa when he shall see him at his house, their meeting probably takes place in the street. ↩ + 

Tattered. ↩ + 

Knavery (from cazzo). ↩ + 

Swindling. ↩ + 

Reckoning. ↩ + 

The scene is a verandah or open porch of Bellamira’s house. ↩ + 

I.e. On. ↩ + 

A familiar Bacchanalian exhortation of doubtful origin. ↩ + 

A corrupt passage. “Snickle” is a noose or slipknot, and the word is commonly applied to the hangman’s halter, and to snares set for hares and rabbits. Cunningham proposed to read “Snickle hard and fast.” ↩ + 

Dainty, sweet. ↩ + 

Judas is said to have hanged himself on an elder-tree. ↩ + 

The scene is inside the council-house. ↩ + 

The scene is outside the city walls, over which Barabas has been thrown in accordance with Ferneze’s orders. ↩ + 

Old edition⁠—“truce.” Dyce printed “trench.” ↩ + 

The scene is an open place in the city. ↩ + 

Lower. ↩ + 

I.e. Treat. ↩ + 

The scene is here supposed to shift to the governor’s residence inside the citadel. ↩ + 

The scene is outside the city walls. ↩ + 

Cannons. ↩ + 

The scene is a street in Malta. ↩ + 

The stick which held the match used by gunners. ↩ + 

Slaves. ↩ + 

The scene is a hall in the citadel, with a gallery at the end. ↩ + 

I.e. Intended. ↩ + 