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He was as loath to part with it, for it stuck As if the flesh and it were both one substance. BEATRICE-JOANNA At the stag's fall the keeper has his fees. Tis soon applied. All dead men's fees are yours, sir. I pray bury the finger, but the stone You may make use on shortly. The true value Take it of my truth, is near three hundred ducats. DEFLORES Twill hardly buy a capcase for one's conscience, though To keep it from the worm, as fine as tis. Well, being my fees I'll take it. Great men have taught me that, or else my merit Would scorn the way on it. BEATRICE-JOANNA It might justly, sir. Why thou mistakst, Deflores, tis not given In state of recompense. DEFLORES No, I hope so, lady. You should soon witness my contempt to it then. BEATRICE-JOANNA Prithee, thou lookst as if thou wert offended. Adrian Schiller as DEFLORES and Anna Koval as BEATRICE-JOANNA (photo: Stephen Vaughan) 30
2. WRITING EXERCISE In pairs, spend some time reading through the excerpt below, which is taken from the beginning of Act 1, Scene 2: • What is the purpose of this scene? • What does it tell us about Lollio and Alibius’ relationship? • Who has the higher status in the scene? Why? • What does Lollio’s use of language tell us about him? • What is Lollio doing to Alibius in this scene? • What does Alibius want in this scene? Now, with your partner take a small section of the dialogue and rewrite a contemporary version in your own words, using puns, connations and metaphors. The characters, their relationship, and the situation remain the same. [ACT 1, SCENE 2] ALIBIUS Lollio, I must trust thee with a secret. But thou must keep it. LOLLIO I was ever close to a secret, sir. ALIBIUS The diligence that I have found in thee The care and industry already past Assures me of thy good continuance. Lollio, I have a wife. LOLLIO Fie, sir, tis too late to keep her secret. She's known to be married all the town and country over. ALIBIUS Thou goest too fast, my Lollio. That knowledge I allow no man can be barred it. But there is a knowledge which is nearer Deeper and sweeter, Lollio. LOLLIO Well, sir, let us handle that between you and I. ALIBIUS Tis that I go about, man. Lollio My wife is young. LOLLIO So much the worse to be kept secret, sir. ALIBIUS Why, now thou meet'st the substance of the point. I am old, Lollio. LOLLIO No, sir, tis I am old Lollio. ALIBIUS Yet why may not this concord and sympathize? Old trees and young plants often grow together Well enough agreeing. LOLLIO Ay, sir, but the old trees raise themselves higher and broader than the young plants. ALIBIUS Shrewd application. There's the fear, man. 31
Page 1 and 2: 25 Short Street London SE1 8LJ T: 0
Page 3 and 4: CREATIVE POLICY ETT is England’s
Page 5 and 6: STEPHEN UNWIN ON THE CHANGELING The
Page 7 and 8: THOMAS MIDDLETON (1580-1627) Middle
Page 9 and 10: JACOBEAN DRAMA The term ‘Jacobean
Page 11 and 12: MADNESS AND SANITY IN THE 17 TH CEN
Page 13 and 14: [ACT 2 SCENE 2] BEATRICE-JOANNA ...
Page 15 and 16: INTERVIEW WITH MARK BOUMAN Costume
Page 17 and 18: INTERVIEW WITH PAUL WILLS Set Desig
Page 19 and 20: INTERVIEW WITH TIMANDRA DYER Produc
Page 21 and 22: The Role of Women Questions: • Do
Page 23 and 24: ASSISTANT DIRECTOR’S ESSAY by Sub
Page 25 and 26: enough, she doesn’t blush, whatev
Page 27 and 28: Terrence But it’s the unmarried o
Page 29: PLACING THE TEXT IN CONTEMPORARY LA
Page 33: FURTHER READING The Changeling, by

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