There’s a wench
Called Moll, Mad Moll, or Merry Moll, a creature
So strange in quality, a whole city takes
Note of her name and person.
This quotation from Sebastian introduces the central protagonist of the play, Moll Cutpurse. Notably, Moll first appears to the audience only through name and reputation, rather than by physically entering the stage as other characters do. This introduction underscores the play's major theme of how one's reputation can lead to large and often incorrect assumptions about their character.
’Tis woman more than man,
Man more than woman, and which to none can hap,
The sun gives her two shadows to one shape;
Nay, more, let this strange thing walk, stand, or sit,
No blazing star draws more eyes after it.
This quotation is Sir Alexander's insulting description of Moll Cutpurse, whom he describes as both "woman more than man" and "man more than woman." This androgynous reputation is precisely what makes the male characters in the play untrusting of Moll, and Sir Alexander's words emphasize his confusion and discomfort over that which he does not understand (i.e., a woman in men's clothing).
"This son," saith he, "that should be
The column and main arch unto my house,
The crutch unto my age, becomes a whirlwind
Shaking the firm foundation."
As Sir Alexander dramatically regales his listeners with a tale about a humble old man, they soon come to understand that the man is Sir Alexander himself (though they doubt his own humility). Here, Sir Alexander pretends to have heard from this old man that his son has disappointed him and put his legacy in jeopardy. Of course, Sir Alexander is referring to his own disappointment with his son, Sebastian, who has chosen to marry a woman whom Sir Alexander does not approve.
Oh, the gallants of these times are shallow lechers; they put not their courtship home enough to a wench.
In an aside to the audience, Moll remarks that the gallants – or flirtatious men – in London are not upstanding courtiers but are instead lazy pursuers of sexual conquest. This is just one of the many examples in the play in which Moll comments on the foolish nature of men and suggests that, as a cross-dressing woman, she knows more about courtship than those who actually participate in it.
I have no humor to marry. I love to lie o’ both sides o’th’bed myself; and again o’th’other side, a wife, you know, ought to be obedient, but I fear me I am too headstrong to obey, therefore I’ll ne’er go about it.
As Moll describes her reasoning behind never wanting to marry, she provides both a defense of independent women and an endorsement of traditional perceptions of marriage. Here, Moll admits that she believes wives should be obedient to their husbands, but in her case she finds this impossible and thus has resolved never to marry. This quotation marks one of the play's many ambiguities, in which Moll's autonomous lifestyle is both celebrated and estranged.
If I could meet my enemies one by one thus,
I might make pretty shift with 'em in time
And make 'em know she that has wit and spirit
May scorn to live beholding to her body for meat...
After Moll vanquishes Laxton during their alleged rendezvous, she explains that she wishes she could do the same to all her "enemies" who underestimate her, or who expect her to act like a common woman. Instead, Moll fantasizes about letting the world know about her strength and intelligence, holding these qualities far superior to the notion that women are only valuable for their bodies and appearance.
He that can take me for a male musician,
I cannot choose but make him my instrument
And play upon him.
When Sir Alexander leaves out jewels in hopes that Moll will steal them, she makes this comment to Sebastian. As Moll thinks that Sir Alexander has mistaken her for a male musician, she vows to "make him [her] instrument," or trick and humiliate him. Here, Moll embraces her cross-dressing reputation as a means of lighthearted revenge.
We are boil'd. Pox on her! See, Moll, the roaring drab.
When a gang of cutpurses (pickpockets) attempt to rob Moll and Jack, Moll reveals their plan and explains the workings of London's sneakiest criminals. Here, one of the cutpurses announces that their scheme has been foiled by "Moll, the roaring drab," emphasizing Moll's fame among these criminals. This is also an example of Moll using her proximity to crime to protect those she considers honorable.
I must confess,
In younger days, when I was apt to stray,
I have sat amongst such adders, seen their stings
As any here might, and in full playhouses
Watch'd their quick-diving hands to bring to shame
Such rogues, and in that stream met an ill name.
After Moll sends away the two cutpurses, Sir Thomas inquires as to why her own name (and reputation) is Moll Cutpurse. Here, Moll explains that in her youth, she would spend time watching the pickpockets "work" in the theaters, her aim being to one day catch them in the act and reveal their crimes. In so doing, however, she herself developed a reputation for pickpocketing. This quotation calls into question Moll's entire persona until this point, as it suggests that she has never actually been a criminal but was only perceived as such by those who wrongly judged her.
My lord, your office here appears so honourably,
So full of ancient goodness, grace, and worthiness:
I never took more joy in sight of man
Than in your comfortable presence now.
When it is finally revealed that Sebastian has not married Moll but has married Mary instead (as he originally intended), Sir Alexander is beside himself with joy. After previously disapproving of Sebastian's marriage to Mary, he is thrilled to see the two of them together because it is a sight of "ancient goodness, grace, and worthiness." Of course, audiences will recognize that this is yet another slight toward Moll, whom Sir Alexander perceives as confusing and strange.
