Book ^ / . /9/z With the Comph'ments of YALE UNIVERSITY LIBRARY NEW HAVEN, CONN., U. S. A. ' YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor Ijht-i XL^ Gr-< CYNTHIA'S REVELS OR, THE FOUNTAIN OF SELF-LOVE BY BEN JONSON \\ Edited with Introduction, Notes, and Glossary BY ALEXANDER CORBIN JUDSON, Ph.D. Instructor in English in the University of Texas A Thesis presented to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philosophy NEW YORK HENRY HOLT AND COMPANY 1912 WEIMAR: POINTED BY R. WAGNER SOHN. PREFACE Cynthia's Revels, because of its formlessness, com- plexity, and allegorical nature, probably yields less to the average reader than any other of Jonson's plays. This edition represents an effort to make the play more intelligible, partly by disentangling and analyzing its various elements, and partly by a detailed explanation of its obscurities and allusions. This has not been so dreary a task as one would imagine, to judge from the criticism which has for years been dealt out to this ' comicall satyre.' Swinburne's characterization, for exam- ple, of Jonson's 'cyclopean ponderosity of perseverance which hammers through scene after scene at the task of ridicule by anatomy of tedious and preposterous futilities,' is hardly calculated to bias many toward the play. I have no wish to palliate its faults: its woeful lack of dramatic action, monotonous repetition of absurdities, and absence of artistic unity are all apparent enough. But no true impression of it is derived from a mere enumeration of its imperfections. With all its blemishes, one is yet constantly aware that it is a product of Jonson's maturing powers; and, aside from its literary qualities, it presents, especially to the student, questions of ab- sorbing interest, most of which have hitherto received but little serious attention. What relation does it bear to the Stage- Quarrel, that fiery war fought out on the boards of the common stage ? Who are the detractors of Cynthia, and who the culprits upon whom she has visited divine justice? Does the satire of manners, which forms the groundwork of the play, represent a conventional or an original and sincere attack on the foppery of the time? These are some of the problems which Cynthia's Revels a2 iv Preface presents, and which render it in many ways quite as interesting as a masterpiece Hke Epiccene or The Al- chemist — and as important, too, for all those who wish to study the development of Jonson's dramatic art and genius. It is hoped that the method of handling the text will find approval. This method, which, so far as I know, has never before been accorded to a folio text, is fully ex- plained in the section dealing with the variations in the impressions of the folio. In recording variant readings of later editions, only such have been chosen as seemed clearly significant, a proceeding which will, perhaps, render the foot-notes to the text of genuine interest to the average reader. Certain difficulties have appeared which all my efforts have not enabled me to solve ; these have been frankly stated in order that the attention of future students of the play may be focused upon them. My hearty thanks are due to Mr. W. A. White of New York City for the generous loan of his quarto of Cynthia's Revels; to Professor William Lyon Phelps for the un- limited use of his copy of the folio of 1616; to Professor Kenneth McKenzie and to Mr. C. F. Tucker Brooke for assistance on several points; and to Mr. Andrew Keogh and to Mr. Henry R. Gruener for bibliographical aid. To Professor Albert S. Cook I owe a special debt of gratitude for constant inspiration, and much patient criticism of my work. A portion of the expense of printing this thesis has been borne by the Modern Language Club of Yale Uni- versity, from funds placed at its disposal by the gener- osity of Mr. George E. Dimock, of Elizabeth, New Jersey, a graduate of Yale in the Class of 1874. A. C. J. Yale University, May I, 191 1. CONTENTS PAGE INTRODUCTION A. Editions of the Text I. The Quarto . . II. The Folio of 1616 1. Changes and Additions in the Folio 2. Remarks on the Variations in the Im- pressions of the Folio III. Subsequent Editions B. Date and Reception of Cynthia's Revels vii viii viii xii xvii xxi C. Cynthia and the Allegory xxiii D. The Satire I. Satire of Manners 1. Analysis .... 2. Satire an Expression of the Age II. Satire of Persons : The Stage-Quarrel xxxii v/ xxxii XXXV xliv E, Sources I. Lyly II. Classical Borrowings . III. Sixteenth Century Satire IV. The Character-Books V. Timon .... Ivii Ixiii ^ Ixvisy Ixvi Ixxii F. Criticisms Ixxiv TEXT 1 TEXTUAL NOTES 163 EXPLANATORY NOTES 159 GLOSSARY 237 BIBLIOGRAPHY . 258 INDEX 264 INTRODUCTION A. EDITIONS OF THE TEXT I. THE QUARTO Cynthia'f: Revels was first published, in quarto, in 1601. A reproduction of the title-page is given on page 5. Through the kindness of Mr. W. A. White of New York City, it has been possible to collate his copy of the quarto with the folio of 1616, which furnishes the basis of our text; all differences, other than mere changes in punctuation, speUing, capitahzation, and italicization, will be found recorded as foot-notes to the text. They will be discussed in the next section. Professor Bang has furnished, in Band 22 of the Materialien zur Kunde des Alter en Englischen Dramas, an excellent repnnt of the quarto, from the copy in the Bodleian Library (Malone 193). A detailed comparison of Mr. White's copy with this reprint shows that the quarto, like the folio, ^ underwent correction in the course of the printing off. The variations are confined to the single side of two sheets, and are, for the most part, corrections of rather evident typographical errors. The corrected sheets, the outer sides of the sheets bearing the signatures C and E, are found in Mr. White's copy. C has corrections on all four pages, nineteen in number ; E has but one correction. The only changes of real interest are 'would' to 'should,' and 'our' to 'your,' on pages C2v and C3 (Bang's re- print, lines 598 and 633), respectively. ^ See section II. 2. below, which deals with the variations in the impressions of the foUo of 1616. viii Introduction II. THE FOLIO OF 1616 I. Changes and Additions in the Folio In view of the number and nature of the alterations to which Cynthia's Revels was subjected upon its repubh- cation in the folio of 1616, it is certain that Jonson, and no other, was the reviser. Since we do not know what liberties the printer may have taken with the spelling and punctuation of the quarto, it is sufficient merely to call attention to the greater uniformity and correctness shown in the folio, and to the striking improvement in the appearance of the printed page brought about by the elimination of unnecessary italics and capitals. Among alterations of minor importance may be mentioned the change from Latin to English of the terms used to designate the parts of the drama, as Prceludium, Actus, Palinodia, etc., the failure to reprint the Exit and Exeunt of the quarto, and the effort to modify the rigor of the oaths in accordance with the well-known regulation put into effect by James I in 1606. It is amusing to notice Jonson's substitutes for the name of the Deity. Some- times the courtiers turn Roman, and swear by Jove, Hercules, and Venus; sometimes the newly enthroned god of tobacco furnishes them such oaths as ' by this vapor ' or 'by this light.' Occasionally Jonson fails to correct the prohibited word. The more important changes consist in substitutions of single words, and in additions of phrases, sentences, and passages of considerable length. Nothing shows better than the word-substitutions the extreme care with which the text was revised; most of them either increase the vividness or are clearly better adapted to the context. Such changes as 'button' to 'band' (1.4. 157) and 'rose' to 'ribband' (1.4. 119) may represent a change in the fashions of the fantastic courtiers, produced by an interval of a Editions of the Text ix few years. Other interesting substitutions are as follows : 'butter-flies' for 'coxcombs' (i. 4. 77); 'fittons and fig- ments' for 'fictions' (i. 4. 22); 'coach-horse' for 'tilt- horse' (4. I. 39); 'Ignis fatue' for 'Hell-fire' (5. 10. 58); 'face, like a sea-monster, that were to ravish Andro- meda from the rocke' for 'face, like a squeez'd Orenge, sower, sower' (4. i. 67). The minor additions also show careful thought: a few serve to fill out imperfect lines in the verse (5. 5. 2; 5. 11. 50), but the greater number are employed to accentuate and explain the thought (2. 3. 49), or to add a touch of humor (i. 4. 153—5). The more important additions, amounting in all to nearly a thousand lines, are as follows: 3. I. 33—77: Amorphus gives Asotus several practical rules for forcing his way into noble society. 3. 4. 22—41: Crites furnishes Arete with a sketch of two of the courtiers whom he has just seen in the pres- ence-chamber. 4. I. 138—219 : Moria, Philautia, and Phantaste describe the happy estates into which they would wish themselves if Jove gave them permission. 4. 3. 159—203: The courtiers play a second game, A thing done, and Who did it. 4. 5. 77-101, and 4. 5. 143-5- 5- i- (800 lines): Amorphus, learning that the revels must be postponed, determines to exhibit, by open challenge, the proficiency in courtship of his pupil, Asotus. Crites and Mercury conclude to accept the challenge, and try to surpass the courtiers in their own folly; their attempt meets with success. The only omission of quarto-matter is the Beggars' Rime from 2. 5. As it is a mere jingle, remarkable only for the great number of sharpers of various sorts enumerated in so few lines, Jonson did well to drop it from the folio. Our resentment at Jonson for having swelled a play. X Introduction already sufficiently long, to such an unreasonable length, is likely to weaken our appreciation of the chief additions. To be sure, parts of the contest in courtship make very dull reading, and must have depended largely on the actors' ability for their success; but several of the addi- tions — for example, the one which records the wishes of the court -ladies — suggest in the keenness and vigor of their satire the ripest maturity of Jonson's genius. We have, apparently, no means of determining when the several chief additions were composed. While it is possible that they were written when the play was being revised for publication in the folio, it is perhaps more reasonable to assume that its success on the stage was the stimulus to their composition at an earlier time. Dr.C. R. Baskervill, in a recently published work, entitled English Elements in Jon- son's Early Comedy'^ (191 1). offers a novel view. 'I believe/ he says, 'that the longer form was the original form, or at least was earher thSin Poetaster.' He supports this opinion by arguing that the hostihty of the courtiers to Crites is treated most fully here ; that here the bitterest personal satire, and the most daring attacks on the court are found; that Mistress Downfall, who appears only in the longer version, furnishes a first study of the character of Chloe in Poetaster^, while the efforts of the pseudo-gallants to disgrace Crites foreshadow the hostility to Horace; he further finds a 'possible hint' of Jonson's 'foure choice, and principall weapons'^ of courtship in the ' foure sundrie weapons'* at which Bubo challenges Asinus. Upon careful examination, I find these arguments un- convincing. In the first place, it is highly improbable that the longer form is the original; for, though it is conceivable that Jonson might have made later additions, it is hard to believe that he would have deliberately shorn 1 P. 227. 2 cf. Poetaster 4. 1, p. 444 with Cyn. Rev. 5. 3. 45-8. * 4. 5. 98. * Satiromastix, p. 233. Editions of the Text xi away large sections of his play when publishing it in the quarto. Dr. Baskervill offers no reason which could have prompted such a procedure. Indeed, the parts peculiar to the longer form contain passages of rare vigor and excel- lence, and were, of course, deemed worthy a place in the folio of 1616. But it is suggested that the longer form, if not the original form, was at least earlier than Poetaster — in other words, that the additions were composed after the quarto had gone to the press, but before Poetaster was finished. The quarto, however, could not have reached the printer much earlier than March i, 1607, since, as I shall later show, it contains allusions to an event which had taken place late in February, 160^. Poetaster, judging from internal evidence, seems to have made its first appearance in the spring or early summer of 1601.^ Though written at top speed with the purpose of forestalling an expected attack, its composition re- quired, as Jonson tells us, fifteen weeks. ^ It seems, then, highly improbable that he could have spared time to write extensive additions to Cynthia's Revels. Accordingly, irrespective of the contents of the parts lacking in the quarto, it is not likely that the longer version is the earlier. Turning to the courting-contest, do we find, as Dr. Baskervill affirms, that the hostility of the courtiers to Crites is here most fully treated ? In my opinion, their hostility is not to be compared with that found in Act 3, scene 3. They desire to disgrace him, not because of personal envy or hatred, but because he is a fellow in black, i. e., a scholar, and poor. I believe the satire in this scene, in spite of a few lines which might bear a different interpretation, is essentially impersonal, being nothing more than ridicule of insincere and affected gallantry; Crites himself twice asserts that this is its ^ Small, Stage-Quarrel, p. 25. 2 Poetaster, Speech of Envy, p. 370. xii Introduction purpose (5. 1. 17—22; 5. 4. 178—82). The fact that we here have a daring attack on the court furnishes at best but a general indication as to the time of composition. Mistress Downfall may as well be an echo as a first study of Chloe; indeed, both find a prototype in Fallace in Every Man out of his Humor. And finally, the fact that, of the many clear references to Cynthia's Revels in Satiromastix, only one 'possible hint' of the courting- contest can be found, is to me a chief argument that it was unknown to Dekker. 2. Remarks on the Variations in the Impressions of the Folio The necessarily slow process of printing in Jonson's time made it possible to correct an edition while it was passing through the press. We know that this was often done, since many books of the period show numerous slight variations in copies of the same edition. One who has never made a study of the matter might suppose that they represented different editions published in the same year. A comparison of the text of two of these copies, however, convinces one that they were printed from the same forms. Greg says: 'Of this habit of correcting the text while a work was printing off, there is ... no more interesting case than that of the first folio of Ben Jonson's works, though, so far as I know, no notice has ever been taken of it, beyond a few obvious points occurring on the titlepages to the various parts. '^ Since this was written (1902), there have been at least two published collations of parts of the text where two or more copies of the edition were used. In 1905 Bang published in his Materialien zur ^ A List of Masques, Pageants, (S'C, p. xiii. Editions of the Text xiii Kunde des A Iteren Englischen Dramas a careful reprint of the first 275 pages of the 1616 foHo, using for his text a copy in his own possession. He accompanied his reprint with a hst of variant readings made from another copy found in the Royal Library at the Hague. In 1906 Aurelia Henry published Epiccene in the Yale Studies in English; she based her text on one edition, and printed, as foot-notes, the variants from two other copies of the same edition Though marking a definite advance over all previous handling of the folio text, the method would have proved more satisfactory had there been an effort to determine which were the corrected readings. The variants, being largely typographical errors, possess in themselves little interest, and hardly deserve a place among intrinsically valuable readings of later editions. In preparing the present text, I have used the folio copy in the Yale University Library (Y), a copy lent me by Professor William Lyon Phelps of Yale University (P), Bang's reprint mentioned above (B), and his published list of variants from the Hague copy (H) . The well-known accuracy of the latter 's reprints justifies the use I have made of his work. Before attempting to explain the method I have employed, a few general remarks as to the nature and origin of the variants may be in place. In the case of the Jonson folio, even the least corrected sheets show so few errors that we may infer a very careful reading of proof before the printing began. Some one, however, in the course of the printing off, must have glanced over the completed work from time to time, and, upon discovering an error, corrected it before further printing was done. In general, where a positive error was corrected, the opportunity seems to have been taken to re-examine the whole sheet, i. e., the two pages printed at the same time from a single form, and to make various slight improvements in punctuation, spelling, and type. xiv Introduction The nicety of these changes suggests the work of Jonson himself, whose exceptional care in such matters is well known. In rare instances pages show that they have imdergone two distinct corrections after the printing off had begun. Apparently the binding was postponed till a large part of the printing, perhaps all of it, was done; for sheets more and less corrected seem to have been bound together at random. Hence, to print the text as it appears in any smgle copy is frankly to disregard correc- tions certainly authorized, if not actually made, by Jonson himself. Probably no definitive text could be prepared without an examination of all existing copies of the edition ; but certainly an approximation to the text which must have had Jonson 's final approval is arrived at by a selection of the sheets which were evidently printed from the most corrected forms ; and this is the principle I have adopted in preparing the text here given. Each sheet (technically speaking) of the folio consists of three sheets of four pages each, bound together so that, of the twelve pages, the first sheet has numbers i, 2, 11, and 12, the second, 3, 4, 9, and 10, and the third, 5, 6, 7, and 8. Accordingly, I and 12 were printed at one time, 2 and 11 at a later time after the ink on the other side had dried, 3 and 10 at one time, and so on. i and 12, then, form the outer side of, say, signature X, 2 and 11 the inner side, 3 and 10 the outer side of X2, 4 and 9 the inner. From this dis- cussion it is clear that not the sheet, nor even the single signature, but one side of a single signature, had to be used as the unit in selecting the most highly corrected portions of the text. The table below enables one to contrast the state of correction on the outer and the inner side of each signature, as well as to see at a glance the relative state of correction of each copy. The variant readings are printed together after the text. Editions of the Text XV I have treated this matter somewhat at length, because of the bearing it has on the handling of the text of the entire foho. After having reached the conclusions here stated, I discovered that McKerrow , in ] lis edition of The Devils Charter,'^ has handled the same problem sim- ilarly. I am indebted to him for the system of tabulation below, which is more satisfactory than the one I had devised. His introduction, pp. xiii- -xix, furnishes an excellent discussion of some points that I have only touched on. Most Inter- Least corrected mediate I correct Signature P (outer) YBHP (inner) YBHP P2(i) Y BHP Q (0) YBHP (i) YBHP Q2(0) YBHP (i) YBHP R (o) YBHP (i) YBH P R2(o) YBHP (i) Y P BH R3(o) H Y BP (i) YBHP S (o) YBHP (i) YB H P S2(0) YBHP (i) YBHP S3(o) YBHP (i) YBHP T (o) BHP Y (i) Y BHP ^ Materialien zur Kunde des Alteren Englischen Dramas, Bd. (1904). xvi Introduction Most Inter - Least corrected mediate correct Signature T 2 (0) YBHP (i) YBHP T3(o) YBHP (i) YBHP V (0) YBHP (i) YBHP V2(0) YBHP (i) YBHP V3(o) Y H BP (i) YBHP X (0) YBHP (i) YBHP X2(o) YBHP (i) YBHP X3(o) YBHP (i) YBHP Y (0) YBHP (i) YBHP Y2(o) YBHP (i) P YBH Y3(o) YBHP (i) Y H BP Z (0) YBHP (i) H YBP Z2(0) YBHP (i) YBHP Z3(o) YBHP (i) YBHP The table above shows that no signature presents an inferior state of correction on both sides. I have selected Y as the basis of my text, because it shows a higher state of correction than the others. H, however, has only one more inferior sheet (using ' sheet ' in the sense of one side Editions of the Text xvii of a signature) than Y; B and P each twice as many. The inferior sheets in Y have been replaced by two found only in H, one found only in P, and one found in B, H, and P. III. SUBSEQUENT EDITIONS The edition of 1640, in which Cynthia's Revels next appeared, is a reprint of the folio of 1616. It varies but little from its original, though some effort has been made to bring its spelling and punctuation into conformity with the usage of the time. Several obvious errors hav6 been corrected, and some new ones made. The edition of 1692 is a fairly faithful reproduction of that of 1640. Some further pains have been taken to modernize the punctuation, spelling, and capitalization. The next edition, that of 1716, printed for eleven book-dealers whose names appear on the title-page, is a reprint of the folio of 1692. The designation of the act, which in the earlier editions appears at the beginning of each scene, is omitted except at the beginning of the act, and a few trivial changes in spelling and punctuation have been introduced, which represent a still further effort at modernization. From a critical point of view, none of these editions has any value. The next edition, edited by Peter Whalley, was published in 1756. The favorable reception shortly before accorded to several 'new and correct' editions of the English poets was the inducement, Whalley tells us, 'for publishing the works of Jonson in the same manner. '^ The title-page informs us that his edition was ' collated with all the former editions and corrected.' A detailed comparison of his text, however, with that of previous xviii Introduction editions, shows that he based it, not on the first foHo, but on the edition of 1716, since the less obvious errors in the latter have been regularly reproduced. By collation he evidently meant no more than reference to earlier editions in cases where the sense was not clear. Notwith- standing the statement in his preface that the folio of 1616 was printed in Jonson's lifetime, and under the latter's own inspection,^ he exhibits a reverence for readings of later editions which is as irrational as it is astonishing. He is careful to justify five restorations of obviously correct folio readings, and twice, while pointing out the error in later editions, retains the incorrect reading. For instance, in 4. 4. 23, Anaides says: 'Sweare? why? S'lood, I have sworne afore now, I hope'; Whalley remarks: 'The ex- pletive, inserted in the elder folio, renders the expression more humorous.' He omits it, however, from his own text. William Gifford, Jonson's next editor, though a much better scholar than Whalley, is at times almost equally illogical. Although he believed, like Whalley, that the folio of 1 616 was prepared for publication by Jonson,^ he employed the following remarkable methods when preparing his own edition: 1. He considered it justifiable to substitute a quarto reading, even when the folio reading was perfectly satis- factory; thus in 4. 2. 40 he substituted for the folio 'carroches' the quarto 'coaches.' Notice his comment when making a similar change in Every Man in his Humor, I. I, p. 7: 'Very good, sir.'] So the quarto. The answer in the folio is. Well, sir. It signifies little which is taken, though it may be just necessary to note the variation.' 2. Even when under the impression that Whalley had made a departure from a correct folio reading, he allowed his change to stand; for example, he retained 'render' for 'tender,' i. 3. 32; 'apted' for 'aped,' 5. 2. 14. ^ 1. ii. 2 Wks. 1. xcii. Editions of the Text xix 3. He made a practice of changing the oaths, thus, *god' to 'lord,' I. 4. Ill, 130; 'By gods so' to 'Ods so,' 3. 2. 9; 'Gods precious' to 'Sprecious,' 3. 2. 19. 4. On occasion, he was wilhng, without recording the fact, to add a brief speech: in 5. 5. 57 he introduced, 'Within.'] Arete.' into the text, without comment. 5. He expanded many contracted words, even at the expense of metre; thus, in 5. 8. 46, he changed 'm'inde- vours' to 'my endeavours.' 6. Finally, and most important of all, he was satisfied with Whalley's text as a basis, though a detailed collation with the folio of 1616 would have saved him from per- petuating many trivial errors, some of which may be traced as far back as the edition of 1640. His addition of more complete stage-directions, and his division of acts on the basis of place, instead of dramatic situation, undoubtedly made the plays more intelligible to the average reader, and should not be classed with the practices mentioned above. His notes are a distinct improvement upon Whalley's, being particularly helpful as regards classical allusions. A reprint of this edition in 1875 under the supervision of Cunningham, with a new introduction and a few additional notes by the latter, forms at present the standard edition. The only remaining edition to be considered is that which was published in the Mermaid Series, 1903. Brinsley Nicholson, the editor, explains at length, in the Editor's Preface in vol. i, his method of preparing the text, it being derived entirely from the quarto and first folio versions. Though vol. 2, which contains Cynthia's Revels, nowhere states that Dr. Nicholson has discontinued his preparation of the text, it is certain, so far as our play is concerned, that he can have had no hand in it. The consistent reproduction of Gifford's errors and unwarranted changes shows that the latter's b2 XX Introduction edition was the basis. Many of Gifford's notes, including several which are erroneous, are reproduced. The number of new errors which the text contains makes it, from a critical point of view, less valuable than any of its predecessors. The question of the value of variants from later edi- tions is naturally suggested by such a discussion as this. Generally speaking, the importance of textual variants depends on the incorrectness of the original text, and the wisdom and ability of later editors. But we have seen that our text shows a state of correctness very exceptional for the time in which it was printed. A study of the revision which the text of the quarto underwent proves that Jonson himself prepared the manuscript from which the folio was printed; and the variations of impressions in the folio convince one of the painstaking care with which the latter was seen through the press. As far as the later editors are concerned, the uniform method of using, not the original folio, but the edition immediately preceding, as a basis for the text, illustrates the unschol- arly principles on which all succeeding editions have been prepared. The editors themselves, recognizing the excellence of the first-folio text, have not pretended to make emendations in more than a very few cases. Whal- ley, speaking of the folio of 1616, says: 'We have an authentic copy for our pattern, . . . which we found of great use in correcting the mistakes of subsequent editions. In following this copy, we had little else to do, than to set right some errors of the press, and a corrupted passage or two, which seem to have been derived from the same source.'^ In respect to our own play, these corrupted passages become practically negligible when we eliminate the speeches of Moria, a prototype of Date and Reception of Cynthia's Revels xxi Mrs. Malaprop, whom Gifford, as well as Whalley, persists in taking seriously. To record, then, all variations of form which appear in succeeding editions, becomes little more than reprinting the inaccuracies and errors of these editions. Fumess, in justifying his exact repro- duction of the folio of 1632 as the text for his variorum edition of Shakespeare, says: 'Let the ailment, therefore, appear in all its severity in the text, and let the remedies be exhibited in the notes. '^ A reproduction of all varia- tions, however, in the case of our play, would exactly reverse the process; it would be exhibiting the ailments of subsequent editions in the notes, the remedy for which appears in the original text. Accordingly, we have limited our textual variants, aside from the quarto differences, and such of Gifford's added stage-directions as seemed clarifying, chiefly to readings which may con- ceivably be viewed in the light of emendations. These, however, are not above a dozen in number. B. Date and Reception of Cynthia's Revels From the statement in the folio edition, we learn that Cynthia's Revels was first acted in the year 1600. It was entered on the Stationers' Register May 23, 1601, and published in the same year. The title-page of the quarto gives us the additional information that the play, at least during its first year on the stage, must have attained some success, since it was 'sundry times privately acted in the Blackfriars by the Children of her Majesty's Chappel.' 2 This is all we know positively about its date and reception.^ Gifford, to be sure, informs us that it was revived after the Restoration, and performed in the * Othello, p. vi. * See note on BlacJc-Friars, p. 159. ^ See post, p. xxxii. xxii Introduction New Theatre in Drury Lane, citing Downes as his author- ity, a statement which has regularly been copied into subsequent editions. Gifford certainly alludes to the list of plays given by Downes in Roschts Anglicanus, p. 8, but Cynthia's Revels is not among them. Genest pointed out Gifford's error eighty years ago,^ but seems never to have been heeded. It is inconceivable that this play, depending for success, as it must have done, chiefly on the satire of absurd manners then prevalent, would have been tolerated by a Restoration audience. That it remained popular for some years after its first presentation may possibly be argued from the additions, nearly a thousand lines, which appear in the folio of 1616. It is interesting to speculate whether Elizabeth ever saw Cynthia's Revels acted, a play evidently designed to shed lustre on her name, and incidentally thereby to bring preferment to the author. The absence of any reference to it in the Revels Accounts^ argues against a presentation at court. It has also been suggested that, had it been given at court, a suitable epilogue would have been written and published, at least in the care- fully edited 1616 edition.^ Even supposing, however, that it was never played at court, Elizabeth might have seen it at Blackfriars; we have definite proof that she saw at least one play there,* and there is no reason to suppose that she did not see others. Yet the fact that preferment seems not to have come to Jonson as a result of this effort leads one to believe that the play was never given before the Queen. The Quod non dant Proceres, dabit Histrio of the quarto title-page, which was not repeated in the folio, appears like an expression of Jonson's disappointment. 1 English Stage 8. 567. 2 Fleay, Hist, of the Stage, p. 122. ^ Small, Stage-Quarrel, p. 24. * Manly, Cambridge Hist, of Eng. Lit. 6. 328. Cynthia and the Allegory xxiii C. Cynthia and the Allegory The lack of harmony and the imperfect fusion of ele- ments which characterize Cynthia's Revels must be attrib- uted, at least in part, to Jonson's obvious effort to attain too many ends in a single drama. Conventional satire of courtly affectation was apparently his main purpose; with this he combined an occasional thrust at a personal enemy. Elizabeth is flattered, defended against the murmurs of dissatisfied courtiers and citizens, and justified for recent drastic action taken against a popular favorite. Finally, Jonson, unforgetful of himself, asks in undisguised language for preferment at court. It is our purpose in this section to examine those elements only which are related to Cynthia (Elizabeth). In the masques of Act 5, Jonson has incorporated his most ardent flattery, which, since it is mainly conven- tional, need not detain us long. Elizabeth's greatness, goodness, courage, chastity, and divinity are all solemnly proclaimed by certain knights and ladies from the court of Queen Perfection. These ideal courtiers, by the way, are none other than the vicious gallants themselves, properly disguised, and furnished each with the 'neigh- boring virtue,' as Jonson terms it. Philautia (self-love), for example, appears in the masque as Storge, thereby signifying that love, if rendered unselfish, and directed toward noble ends, may become an exalted and worthy passion. The masques, with their abundant flattery, must have appealed to Elizabeth much less than a passage occurring in Act 5, scene 6. Here a note of real sincerity is evident, and the allusions are clearly to actual circumstances. In this scene Cynthia, appropriately introduced by the beautiful hymn beginning 'Queen and Huntress,' makes her first appearance, and at once addresses the assembled xxiv Introduction revelers. Her favors, she asserts, have been granted with great prodigahty, yet men have received them, not as generous gifts of heaven, but as due. Besides this, they have accused her of pride and austerity, on account of her refusal to yield to Cupid's sway, forgetting, apparently, that her chastity is her greatest glory. These remarks of Cynthia are commended by Arete, one of her attendant ladies : How Cynthian-ly (that is, how worthily And hke herselfe) the matchlesse Cynthia speakes! Infinite iealousies, infinite regards, Doe watch about the true virginitie. In the remarks of Cynthia and Arete we have most cer- tainly a reference to the situation at court, and in the realm at large, which characterized Elizabeth's declining years. The wheels of government were moving less smoothly than they had a few years earlier. The trading classes were becoming impatient at restrictions which the government was laying upon them; taxes were felt by the city merchants as a constantly growing burden; representatives of these classes, who brought their griev- ances to Parliament, were silenced only by imprisonment. At court it was not much better. The old circle of Eliza- beth's advisers was continually opposed by young and rash men; most of them were seeking political advance- ment; not a few attempted to secure it by professing a lover-like attachment to the Queen, who, oddly enough, valued such attentions more highly the older she grew, and systematically encouraged all who were willing thus to flatter her vanity.^ The hoped-for advancement at court, however, did not come, nor did betterment of financial conditions. Thus city and court alike were filled with a 'mutinous kind of wanting men,' a race 1 Cambridge Mod. Hist. 3. 329. Cynthia and the Allegory xxv Which still complains, not knowing why, or when, ^ as Jonson calls them. Either an honest indignation at their often plainly expressed dissatisfaction, or the feeling that a denunciation of them might help his own cause, must have prompted the passage under discussion. Jonson, having adopted these indirect methods to gain Elizabeth's favor, did not stop there. He requested it in the simplest and plainest language, adding thereto such extreme praise of himself that we cannot but marvel at his impudence. The lines which he devotes to his own personal cause are 5, 6. 81— iii and 5. 8. 14—47; into Arete's mouth he puts perhaps the clearest expression of his plea: Thy favours gaine is his ambitions most, And labours best; who (humble in his height) Stands fixed silent in thy glorious sight. The passage where Jonson rebukes the discontented of Cynthia's realm is much less severe in tone than several other passages — those which contain allusions to Actseon and Niobe, and to certain unnamed detractors of the Queen. In the latter a very stern tone is adopted, and the slanderers are menaced in the most vehement fashion. The identity of the persons denoted by Actaeon and Niobe has received surprisingly little attention. Ward was, as far as I know, the first to attempt their identi- fication. He thought they represented respectively Essex and Arabella Stuart. ^ Fleay's history of the drama appeared some years later, with a different identi- fication for Actaeon. 'Diana's justice on Acteon,' he tells us, 'alludes to Nash's punishment for his Isle of Dogs: 1 5. 6. 46. 2 Heinrich Hoffschulte (tJber Ben Jonsons Altere Lustspiele, Miinster, 1894, p 16), possibly following Ward, makes the same identifications of Actseon and Niobe. xxvi Introduction "As Acteon was worried of his own hounds, so is Tom Nash of his Isle of Dogs" (Meres, 1598.) '^ A careful examination of the passages which relate to Actaeon, however, convinces one that the allusion is to some far more serious event than the temporary imprisonment of Nashe. Notice the following, which are the only passages referring specifically to Actaeon (i. i. 92—5) : Diana (in regard of some black and envious slanders hourely breath'd against her, for her divine iustice on Ac- teon, as shee pretends [alleges]) hath here in the vale of Gar- gaphy, proclaim'd a solemne revells. I. 2. 82—3: Here yong Acteon fell, pursu'de, and torne By Cynthia's wrath (more eager, then his hounds). Again Elizabeth, having admitted that she is perhaps austere to the ' proud or the prophane,' adds (5. 11. 14— 5) : For so Actaeon, by presuming farre, Did (to our grief e) incurre a fatall doome. Ward is surely right in supposing that these passages allude to Essex, but wrong in assuming that they were written some months before the latter's execution. A careful examination of the concluding events in the career of Essex throws much light on the question. But before further investigation of Essex' identity, let us notice Ward's identification of Niobe as Arabella Stuart. The following passages are those containing references to Niobe (i. 2. 84-7) : And here, (ay me, the place is fatall) see The weeping Niobe, translated hither From Phrygian mountaines: and by Phcebe rear'd As the proud trophsee of her sharpe revenge. ^ Chron. of the Eng. Drama 1. 363. The quotation is from Palladis Tamia {Wits' Academy, 1636, pp. 633-4). Cynthia and the Allegory xxvii 5. II. 16-7: And so, swolne Niobe (comparing more Then he [Actseon] presum'd) was trophseed into stone. This would be strange language to apply to the young princess Arabella, who at this time was peacefully residing at her grandmother's country-seat in Derby- shire, and was on good enough terms with the Queen to send her a New- Year's gift, January, 1600.^ To be sure, the Queen viewed the young princess with jealousy and suspicion, but it was not till many months after the completion and presentation of Cynthia's Revels that Arabella was imprisoned as a result of the offer of her hand to Lord Beauchamp.^ The allusion is doubtless to Mary Stuart, who was executed thirteen years before. There is no implication that the trophying of Niobe into stone was a recent event; indeed, the manner of its mention in connection with Actaeon suggests its intro- duction as an example of a well recognized case of C5nithia's justice, which might support that which she had recently^ meted out to Actason.* Returning to our attempt to identify Actaeon with Essex, it may be well briefly to recount the events which led to the latter's execution. In April, 1599, he was sent to Ireland, to quell the rebellion then spreading there. In August he met the rebels, but, instead of fighting them, he made terms unfavorable to England with their leader, Tyrone. Learning of Elizabeth's displeasure at his weak action, he hastened to England, and, dramatic- ally forcing himself into her presence, sought her 1 Strickland, Tudor Princesses (1868), pp. 348-9. 2 Ibid., p. 352. ^ The ' slanders hourely breath'd ' in the first quotation concern- ing Actseon shows that the event had but just taken place. * Small {Stage-Quarrel, p. 24, note) makes the simple statement that Niobe was probably Mary Stuart. xxviii Introduction forgiveness. This he temporarily gained, but on October i was committed to prison. On Christmas Day the Lon- don populace offered prayers in the churches for their favorite. On June 5, 1600, he was suspended from his offices, but was released toward the end of August. On account of seditious activity, he was again imprisoned in February, 160^, and on the 25th of February was beheaded on Tower Hill. His courage and engaging personality had won him a multitude of friends among nobles and citizens alike. It is related that his executioner nearly lost his life at the hands of the enraged mob. The words 'pursued, and torn by Cynthia's wrath,' 'fatal doom,' and 'envious slanders hourly breathed against her, for her divine justice on Actaeon,' together with the long speech in Act 5 (11. 9—42) in which her censurers and detractors are threatened with severe punishment if they persist in their 'calumnious and lewd blasphemies,' read in the light of the events which we have just narrated, make it perfectly clear that Actaeon represents Essex, and that his execution had already taken place before the passages which we have discussed were written. History records no other event of this time to which such language could be applied. But Essex was beheaded on the 25th of February, 160^, and Cynthia's Revels, as we learn from the folio, was acted in the year 1600, i. e., by March 25, i6o^- Is it possible, then, that Jonson, who usually spent a year in writing a play,^ could have composed this one in a month? Certainly not. There are, however, two ways of explaining the difficulty. Either the play was nearing completion at the time of Essex' death, or it had already been completed before that event took place; in the former case, we must suppose that only the 1 Poetaster, Apologetical Dialogue, p. 519. Cynthia and the Allegory xxix earlier allusions to Actaeon are interpolations; in the latter, that all allusions to Actaeon are such. The passages which concern Actaeon are very few in number. Aside from the mere designation of Gargaphie as the scene of the action after the list of the Dramatis Personam, and once in the Induction, there are but three such passages : two of them, which together amount to but twenty-four lines, occur in Act i (i. 91—104; 2. 82—95) ; and the third, thirty-five lines in length, is found in the last scene of the play (11. 9—45). Excepting these passages, there is no remote suggestion of Actaeon or the slanders breathed out against Cynthia. Since it is obvious that so few and such brief passages could have been easily introduced at a later time, it is necessary now to determine whether they actually show any indications of being interpolations. There is evidence which points to the fact that at least one of the passages in Act i is a later addition. In 1. 1. 91—104, it is asserted that Diana has a twofold pur- pose m attending the revels: first, to tread beneath her feet the malicious imputations in regard to her treatment of Actaeon, and, secondly, to show that she is free from austerity. Yet when she first appears at the revels, though she has much to say in regard to the latter motive, the former is not even mentioned. This clearly supports the theory that the passage in which the first of the two motives is stated had not been written at the time Cynthia's speech was composed. Small, perceiving that the passages concerning Actaeon must have been written after Essex' death, adopted the first of the two hypo- theses mentioned above — in all probability the second did not occur to him — and dated the play February or March, 160^.1 I A careful study of the Actaeon-passage in Act 5 has ^ Stage-Quarrel, p. 24. XXX Introduction convinced me that the first hypothesis is not tenable. This passage is part of a long address which Elizabeth makes to the still unmasked courtiers. A careful examination of it shows that it forms no organic part of the scene in which it occurs; indeed, it even bears the earmarks of an interpolation, for its omission makes perfect a con- tinuity of thought which at present is lacking. This becomes apparent when the lines which precede and follow it are read as one continuous passage (i— 8, 46 ff.): Ladies, and gallants of our court, to end. And give a timely period to our sports, Let us conclude them with, declining night; Our empire is but of the darker halfe. And if you iudge it any recompence For your faire paines, t' have earn'd Dianas thankes, Diana grants them: and bestowes their crowne To gratifie your acceptable zeale. . . . And that we not mis-take your severall worths. Nor you our favour, from your selves remoove What makes you not your selves, those cloudes of masque. The thirty-five lines (9—43) which Cynthia devotes to the Actaeon-episode break the thread of her speech, and make necessary the following two lines (44—45), which call the reader's attention back to what had preceded in 1—8: Once more, we cast the slumber of our thankes On your ta'ne toile, which here let take an end. One might expect a man of Jonson's literary ability to recast a scene into which he wished to introduce so con- siderable and irrelevant an addition. His procedure here, however, seems to have been precisely what it was when he made the folio additions to our play. In almost every case the new material has been joined with scarcely the elimination of a word from the text of the quarto, a fact which is shown by the foot-notes to our text ; apparently Cynthia and the Allegory xxxi Jonson had an almost superstitious aversion to destroying anything which he had once written and approved. If we are right in considering these hnes an interpolation, then it is obvious that the play must have been completed before Essex' death, for the passage occurs in its last scene. There is really no ground for supposing that Jonson would not have made these additions to his play, even several months after its completion, provided he had wished to. The thousand new lines appearing in Cynthia's Revels upon its republication in folio form show that he had no objection to making later additions to his work. Indeed, far from being unnatural, the procedure becomes an exceedingly natural one when we consider that Jonson entertained no theory more warmly than that rulers are above the censure of their subjects. Notice the following expressions of this thought found elsewhere in his work: The vulgar are commonly ill-natured, and always grudging against their governors. . . . There was not that variety of beasts in the ark, as is of beastly natures in the multitude; especially when they come to that iniquity to censure their sovereign's actions. — Explorata, Wks. 9. 166. Let no man therefore murmur at the actions of the prince, who is placed so far above him. If he offend, he hath his discoverer. God hath a height beyond him. — Explorata, Wks. 9. 174. They that censure those They ought to reverence, meet they that old curse. To beg their bread, and feel eternal winter! There's difference 'twixt liberty and licence. — Time Vindicated, Wks. 8. 11. Since Jonson held this settled theory, what is more natural than that he should hasten to Elizabeth's defense, and, even after the completion of his play, seek to embody in it a severe reprimand for those who were murmuring at Essex' death? The fact that Cynthia's xxxii Introduction Revels was designed already in part as a justification of the Queen to her discontented citizens makes the added apology particularly fitting. If the passages concerning Actaeon were added after the completion of the play, they cannot, of course, aid us in determining its date. Accordingly, we must rest content with Jonson's own statement that ' this Comicall Satyre was first acted in the yeere 1600'^; though if Every Man out of his Humor was finished in February or March, ^, as seems likely,^ Cynthia's Revels was probably completed late in 1600. D. The Satire I. SATIRE OF MANNERS I. Analysis Before Jonson's time the word Satire had not been applied to the drama. By his use of the term when he entered Every Man out of his Humor in the Stationers' Register, he shows that he had even then consciously allied himself with the formal satirists, wtiose work was rapidly coming into vogue. Though employing in large degree their tone, he parted from them in selecting the drama, probably because of its greater elasticity, as the vehicle for his invective. His method in Cynthia's Revels is really an accentuation of the caricature which he used in Every Man out of his Humor, typical characters only, representatives of various vices and follies, being brought upon the stage. They are all members of the general class of gallants, and include four pretty distinct types: the arrogant man of fashion; the traveler; the ^ See ante, p. xxi. ^ Stage-Quarrel, p. 22. The Satire xxxiii wealthy young fool from the country, who is initiated into the mysteries of court-life by the latter; and the ridiculous lady of court. Jonson has endeavored still further to individualize the members of these classes by emphasizing some one vicious or objectionable trait in each personage. Accordingly, he has given us the impudent, the pleasure-loving, the foolish gallant, etc. In this he has not been very successful. Even the fact that the characters bear names intended to suggest their qualities does not enable the average reader to keep them clearly differentiated. They are all more or less pleasure-loving, foolish, and fantastical, and at the conclusion of the drama still seem mere shadows in comparison with the characters of Jonson's other plays, where the dramatis personcB are not elaborately named after their humors. Besides these types of society upon whom particular ridicule is visited, the larger body to which they belong receives its due measure of scorn, and occasionally, in the Induction and elsewhere, persons other than courtiers are made to feel the sting of Jonson's pen : authors of plays who make a nuisance of themselves in the tiring-house; poets who are 'promoters of other men's jests'; and playwrights who use every strange word they have got acquainted with, 'though it loosen the whole fabric of their sense.' In Every Man out of his Humor, Jonson gives his idea of a good play, 'a thing throughout pleasant and ridiculous, and accommodated to the correction of manners.'^ With such a cast of characters as we have just described, it would be strange if our play did not exhibit a great variety of manners wanting correction ; none of the activ- ity of the dramatis personce is directed toward the further- ing of a plot — for there is no plot worth mentioning; 1 3. 1, p. 109. xxxiv Introduction indeed, their whole duty consists in acting as they are in the habit of acting day by day. The traveler makes his vainglorious boasts and misquotes foreign phrases; the idle gallant quarrels with his comrades, discusses the latest fashion in hatbands and garters, and seeks to devise the best method of prevailing on his fantastic mistress; the ladies of the court discuss the gallants' physical and mental charms in a manner character- istic no doubt of Elizabethan times, but certainly not peculiar to them. There is hardly a page which does not illustrate in laughable manner the minted compliment and grotesque language of the courtiers; they quote play-ends, talk to each other in the style of Tamhurlaine and the Spanish Tragedy, and devise strange oaths with which to protest their eternal devotion to their mistresses. They are shown to us in the presence- chamber at their pastimes, which consist in witty and hollow repartee, music, and idiotic games. The latter reach their culmination in an elaborate duel in courtship ; a lady serves as the ' courting-stock ' of two gallants, who lavish upon her a perfect torrent of inane compliment. 'Meere lunacy,' is Crites' verdict, who adds: 'Would any reasonable creature make these his serious studies, and perfections ? Much lesse, onely live to these ends ? to be the false pleasure of a few, the true love of none, and the iust laughter of all?'^ Other practices which come in for special censure are: the arrogant treatment of scholars by men of fashion; the insolent conduct of gallants in the theatres, as sitting on the stage and taking tobacco while the play is going on; and the frequenting of expensive ordinaries, or eating-houses, which serve as schools for the acquire- ment of dandyism. It is to one of these that the country 1 5. 4. 178-82. The Satire xxxv fool, Asotus, is recommended by his friendly adviser, Amorphus: 'You are not audacious inough, you must frequent ordinaries, a moneth or more, to initiate your selfe.' On no practice is more vigorous satire visited than upon dueling according to the elaborate codes lately introduced from Italy — 'quarreling by the book,' as Shakespeare has it. This is ridiculed through the courting contest, which is conducted somewhat like a fencing-match. An attempt to include in this summary all the objects of satire would make it too long; enough has been said to show that the main fire was directed against the particular sorts of affectation, folly, and vice which charac- terized the city and court coxcomb, and rendered him, notwithstanding his wealth, fine clothes, and titles, deserving, in Jonson's eyes, only of the most sovereign contempt and scorn. 2. Satire an Expression of the Age In order to appreciate fully the significance of Jonson's satire, it is necessary to get a general view of the con- dition of satire in England at this time, and in the preceding years. We are not wont to think of the age of Elizabeth as an age of satire. Its buoyant, romantic spirit has little in common with the sophistication and cynicism which are most likely to nourish satire. Never- theless, it counted among its writers not a few men who adopted the satiric tone; and though it is doubtless true that the work of the Roman satirists first mterested them in this literary type, and was furthermore in greater or less degree imitated by them, it is equally certain that their attacks on abuses of the time and on their personal enemies were often written with a fervor and spirit which mere imitations never possess. c2 xxxvi Introduction Sir Thomas Wyatt owes his reputation of being the first Enghsh satirist to three poems, first pubhshed in Tottel's Miscellany, 1557. They are chiefly devoted to a castigation of covetousness, ambition, flattery, and similar faults, but were not termed satires by their author. The first man to employ the name satire, or satyr e, as it was generally spelled, was Edward Hake; his Newes out of Powles Churchyarde probably appeared in 1567, though the earliest extant edition bears a date twelve years later. In his work we see only the mild flicker of the satire which was to blaze a score of years later. A Puritan in sentiment, he confines his censure for the most part to the middle or lower classes. To later satirists the time in which he wrote must have seemed a period of honesty and simplicity, but we find him terming it a 'sottish sinful brittle age,'^ with a pessimism proper to the satiric passion, and very like that in which his successors indulged. Several lines in his fourth satire make it plain that the garish fashions which so aroused Jonson's ire had already gained some foothold: And Varlets vaunt about the streate, lyke men of high estate: Their Hosen strowting forth with silcke, and plumes upon their pate. In 1575 George Gascoigne's Steele Glas was published, a poem possibly too mild and reflective for the true satiric vein, yet possessing at times decidedly the flavor of the later satire. For our purpose the Epilogue is of great significance, since it contains the first sustained ridicule of the courtiers, and in very much the style Vv^hich Jonson employed in Cynthia's Revels. The Epi- logue is in the form of an address to Lord Gray, to whom the Steele Glas was dedicated. The author declares that 1 Sat. 5. The Satire xxxvii he has shut his glass too soon, but will relate some of the other sights which it has shown him: And at a glimse, my seely selfe have spied, A stranger trowpe, than any yet were sene: Beholde (my lorde) what monsters muster here, With Angels face, and harmefuU heUsh harts. . . . Behold, behold, they never stande content, With God, with kinde, with any helpe of Arte, But curie their locks, with bodkins and with braids. But dye their heare, with sundry subtill sleights, But paint and fhcke, til fayrest face be foule. But bumbast, bolster, frisle, and perfume: They marre with muske, the balme which nature made. And dig for death, in deUicatest dishes. This sounds strangely like the account of the courtiers which Crites gives Arete (3. 4. 3 ff.) : I have seene (most honour'd Arete,) The strangest pageant, fashion'd hke a court, (At least I dream't I saw it) so diffus'd. So painted, pyed, and full of rainbow straines, etc. After a little further description, Gascoigne concludes with the remark that all the paper, ink, and pens which this wretched world ever produced, could not do these strange objects justice, and the glass had best be closed before they have gazed too long. Judging from his poem, particularly the Epilogue, the affectations of the courtiers were already at high tide. In his style and subject- matter, as well as in the blank verse which he used, he furnished a model of great importance to his successors. The next writer of formal satire was John Donne, a man to whom Jonson must have owed much. There is no doubt that Jonson esteemed him highly, and admired his satires. In his Conversations with Drummond he expressed the opinion that Donne was 'the first poet in the world in some things,' adding that he had 'written xxxviii Introduction all his best pieces ere he was 25 years old.'^ We have no means of dating the satires exactly, but most of them were probably written before Donne's twenty-fifth year. Jonson's Epigrams contain further allusion to Donne, with specific mention of the satires. Epigram g4, bearing the title To Lucy, Countess of Bedford, with Master Donne's Satites,^ shows unmistakably the high place Jonson accorded to Donne's satirical work. It may have been the latter which first interested him in a similar literary purpose. The satires are seven in number. Satire i describes a young fop who went walking with the author, but could devote no attention to his companion, because his eyes greedily devoured every passer-by who had costly raiment on his back. We are reminded of Anaides in Cynthia's Revels, whose 'fashion is not to take know- ledge of him that is beneath him in clothes.'^ In Satire 4, the approach of an extraordinary individual is described : Stranger than seven antiquaries' studies . . . The thing hath travell'd, and, faith, speakes all tongues. He attaches himself to the author, who finally escapes by lending him a crown; his departure furnishes an opportunity to muse on the vices and follies of the court. The view of the court is approximately Jonson's, the language becoming at times very candid, as when it is said that there be 'few better pictures of vice than princes' courts.' In the other satires, poetasters, swear- ers, and liars are ridiculed, and various excesses held up to scorn. In 1595 Lodge published his Fig for Momus. The reflective tone, and the general, rather than the specific, nature of his attack, lead one to believe that Jonson could have gained little inspiration and few suggestions from it. The courtiers as a class are not censured, 1 Wks. 9. 373-4. 2 jn^^ g. 197. 3 2. 2. 87. The Satire xxxix though the vices to which they were prone are naturally the frequent target of ridicule. A body of satires of a much more virile and pungent nature are those of Joseph Hall, Virgidemiarum, including three books of 'Tooth-lesse Satyrs,' published in 1597, and three of 'By ting Satyres,' published a year later. Jonson and Hall have one striking characteristic in common: both profess to be moved by a definite moral aim, whose end is the eradication of vice. Jonson desires to strip 'the ragged follies of the time naked as at their birth, '^ yet he stoutly affirms that his pen Did never aim to grieve, but better men.^ Notice the lines with which Hall begins Book 5, Satire 3: The satire should be Hke the porcupine, That shoots sharp quills out in each angry line. And wounds the blushing cheek and fiery eye. Of him that hears, and readeth guiltily. Other lines reiterate this thought. His preface, preceding the satires, furnishes further support for this view in the reasons given for writing smoothly and clearly, instead of in the obscure and rough style alleged to be proper for satires: 'Thirdly, the end of this pains was a Satire, but the end of my. Satire a further good, which whether I attain or no I know not; but let me be plain with the hope of profit, rather than purposely obscure only for a bare name's sake.' In the last of his Toothless Satires, Hall paints the portrait of a gallant very like the Jonsonese courtier — young Ruffio, with not a crown in his pocket, but bearing on his back a wealth of finery collected from various foreign lands. The contrast between his rich exterior and starved interior is made much of, the conclusion being that he must feed others' ^ Every Man Out, Prologue, p. 12. ^ Alchem., Prologue, p. 10. xl Introduction eyes, while others feed themselves. Book 4, Satire 4, whose motto is Plus beau que fort, gives us other similar types of effeminate gallants, who smell like civet-cats, and whose locks, smoothly platted, fall, Shining like varnished pictures on a wall. Throughout Hall's satires, fantastic clothing, wigs, tobacco, false teeth, and similar innovations, receive more or less attention. In the same year in which Hall's second volume appeared, two editions of satires were published by Marston, The Metamorphosis of Pigmalions Image and Certain Satyres and The Scourge of Villanie. Their obscurity — he himself called them 'rough-hew'd rhymes' — and bitterness place them in startling contrast with Hall's. Satire 7 of The Scourge of Villanie is called A Cynicke Satyre: 'A man, a man, a kingdome for a man,' cries the Cynic, but of the many who are shown to him, none impresses him as worthy of that name: These are no men, but apparitions, Ignes fatui, glowewormes, fictions, Meteors, rats of Nilus, fantasies, Collosses, pictures, shades, resemblances. Marston's satire is merciless and abusive in the extreme, and lacks the humor of Hall, nor is one ever certain that a genuine desire to improve the manners he censures lies at the bottom of his work. In his comedy. What You Will, published in 160.7, ^ good deal of the same crabbed style of satire was introduced. The year 1598, notable for its large body of satire, includes, besides those already mentioned, Edward Guilpin's Skialetheia ; he falls into the style fast becoming conventional, rails at the false beauty of women, the follies of the gallants of Paul's, and the general baseness of the time. The year 1599 produced another collection The Satire xli of satires, Micro-Cynicon, by T. M. Gent., generally attributed to Thomas Middleton. It is notable neither for wit nor power. Satire 3, Insolent Superbia, treats society ladies somewhat in Jonson's style. Rowland's epigrams and satires are much nearer Jonson's manner; since, however, they did not appear till 1600, they need not be included in this survey of the satire preceding Cynthia's Revels. This brief examination has certainly made clear the conventional character of much of Jonson's satire. Even the fantastic apparel worn by the courtiers was described in similar fashion twenty years before, ' Span- ish spangs,' 'ruffes fet out of France,' 'high copt hattes,' and 'f ethers flaunt a flaunt,' being mentioned in the Epilogue to the Steele Glas. But this conventional aspect of the satire in Cynthia's Revels does not necessitate any implication of insincerity. Jonson, as has often been remarked, was a Puritan at heart ; he had the stern, simple nature as well as the ruggedness of a Cromwell. Vanity and affectation were really hateful to him, and not the less so because they had been censured for years. His temperament, as described by Drummond, who says he both loved and hated passionately,^ fitted him admir- ably to carry on the fight, and deal the hardest blows yet given. He reverenced the poetic spirit within himself, felt that it needed 'no false light either of riches, or honors to help it,' yet found himself utterly unable to secure recognition at court. Courtiers and men of fashion hated and despised him because he v/as a poor scholar in black. Certainly, then, any retaliation upon such enemies should not be taxed with insincerity. Sometimes, to be sure, the objects of his satire, and of all the satire we have been reviewing, seem absurdly ^ Conversations, Whs. 9. 416. xlii Introduction trivial: the wearing of a feather in the hat or a French ruff strikes one at worst as innocent foppery, not the vices which a real reformer would choose to castigate. Perhaps an explanation lies in the habit of intimately associating the fantastic dress and manners of the court- iers with their profligate lives, so that a blow at one of their apparently harmless practices was deemed a blow at the whole life of which they were exponents. Finally, we should not forget that Jonson, though adopting the tone and aim already in vogue, was highly original in casting his satire into the dramatic mould, and in his sustained application of it in so long a drama as Cynthia's Revels. In that wonderful note-book of Jonson's which he called 'discoveries made upon men and matter,' there occurs a section of unusual interest from its relation to Cynthia's Revels. Certain ideas practically identical in thought and language with the Address to the Court, prefixed to our play in the 1616 edition, show beyond question Jonson's consciousness of its application to Cynthia's Revels. It expresses in noble language the grounds for his disdain of the courtiers' life, and really furnishes his own sober reasons for writing such a satire as this. Its importance warrants our reproduction of it in full. De mollibus et effoeminatis.—TLhere is nothing valiant or solid to be hoped for from such as are always kempt and perfumed, and every day smell of the tailor; the exceedingly curious, that are wholly in mending such an imperfection in the face, in taking away the morphew in the neck, or bleaching their hands at midnight, gumming and bridling their beards, or making the waist small, binding it with hoops, while the mind runs at waste: too much pickedness is not manly. Not from those that will jest at their own outward imperfections, but hide their ulcers within, their pride, lust, envy, ill-nature, with all the art and authority they can. These persons are in danger; for whilst they think to justify their ignorance by impudence, and their The Satire xliii persons by clothes and outward ornaments, they use but a commission to deceive themselves: where, if we will look with our understanding, and not our senses, we may behold virtue and beauty (though covered with rags) in their brightness; and vice and deformity so much the fouler, in having all the splendour of riches to gild them, or the false light of honour and power to help them. Yet this is that wherewith the world is taken, and runs mad to gaze on: clothes and titles, the birdlime of fools.*^ During the years that followed the appearance of Cynthia's Revels, Jonson tried his pen at tragedy, but was glad to return again to satire, for which his tempera- ment and training best suited him. In The Alchemist his satiric power reached its height, though Volpone is not much inferior. Many other poets wrote satire of various sorts. Even before 1600 such epigrammatists as Harington, Bastard, Weever, and Sir John Davies, had turned out volumes of verse. The gentle Shakespeare has here and there a touch of satire, such as Jaques' speech in As You Like It^ beginning, 'All the world's a stage,' or Hotspur's famous speech in i Henry IV.^ Most interesting of all, in view of the special study we are making of the satire of courtiers, is Shakespeare's sketch of a gallant in Love's Labor's Lost:* This fellow pecks up wit as pigeons pease. And utters it again when God doth please: He is wit's pedler, and retails his wares At wakes and wassails, meetings, markets, fairs; And we that sell by gross, the Lord doth know. Have not the grace to grace it with such show. This gallant pins the wenches on his sleeve; Had he been Adam, he had tempted Eve; A' can carve too, and lisp: why, this is he That kiss'd his hand away in courtesy; This is the ape of form, monsieur the nice. That, when he plays at tables, chides the dice In honourable terms. 1 Explorata, Wks. 9. 181-2. 2 2. 7. 139-66. ^ 1. 3. 29-69. * 5. 2. 315-34. xliv Introduction II. SATIRE OF PERSONS: THE STAGE- QUARREL Cynthia's Revels, as one of the plays related to the so- called 'war of the theatres,' makes a brief examination of this famous stage-quarrel necessary. Few literary problems call for more patient investigation, and few have been probed with more diverse results. Two men have made it a subject of particular study. In 1897 J. H. Penniman's War of the Theatres appeared, a work which in many respects agrees with ideas suggested by Fleay in his Chronicle of the English Drama (1891) ; and two years later, Small's Stage-Quarrel between Ben Jonson and the So-called Poetasters, presenting widely different views, was published. The latter, though independent and fearless, is conservative, and has, in the opinion of most, superseded previous discussions of the subject.^ Nevertheless, there still remain problems which call for further investigation. It is far from certain how the quarrel started. Jonson told Drummond that it began by Marston's representing him on the stage^; and in the Apologetical Dialogue to Poetaster, 1601, he makes the further statement that he had been provoked on the public stage by his enemies for three years. These two pieces of evidence have caused the critics to search for a play written by Marston about 1598, and containing an uncomplimentary representation of Jonson. The search has been in vain. The play ^ Mallory, ed. of Poetaster {Yale Studies in Eng.), 1905; Scherer, ed. of Satiro-Mastix {Materialien zur Kunde des Alteren Englischen Dramas, Band 20), 1907; and Thorndike, Cambridge Hist. 0/ Eng. Lit. 6. 4, note 2 (1910), all favor Small's discussion. Schelling, Elizabethan Drama I. 476-91 (1908), prefers Penniman's treatment. 2 Conversations, Wks. 9. 391. Both Penniman and Small make an obviously correct emendation of the text, according to which 'in his youth given to venerie' becomes an independent phrase, or is joined to the sentence which follows {War, p. 2; Stage-Quarrel, p. 3). The Satire xlv which comes nearest to fulfilHng the conditions is Histrio- mastix, a wretched allegory, patched up, apparently, in 1599 by Marston, and containing one character, Chrisog- anus, which might be construed as a representation of Jonson, though certainly not an uncomplimentary one. In the older version Chrisoganus seems to have been a scholar, who commented with great show of wisdom on the passage of events; but in the parts which show the touch of Marston's pen, he has the added characteristics of a playwright and literary dictator. It is impossible to say whether Histriomastix really played any part in the quarrel or not. Certainly the first indication of a cooling of friendship between Marston and Jonson is not discern- ible till the appearance, several months later, of Every Man Old of his Humor. In this play some of the fustian vocabulary used by Marston in Histriomastix and the Scourge 0} Villanie is put into the mouth of Clove. Small takes the position that Clove and his companion, Orange, are brought in merely to 'ridicule the affected phrases of the time ' without specific reference to Marston,* but in my opinion the evidence is conclusive that Jonson had the latter in mind. Both characters, as Cordatus tells us, 'are mere strangers to the whole scope of our play; only come to walk a turn or two in this scene of Paul's, by chance.' After a remark or two. Clove says to his friend : ' Monsieur Orange, yon gallants observe us ; prith- ee let's talk fustian a little, and gull them; make them believe we are great scholars.' As Orange approves, Clove proceeds to 'talk fustian.' He delivers himself of several short speeches, through two of which the Marstonian words are scattered ; I quote the first of these : Now, sir, whereas the ingenuity of the time, and the soul's synderisis are but embryons in nature, added to the panch of Esquiline, and the intervallum of the zodiac, besides the ecliptic ^ Stage-Quarrel, p. 45. xlvi Introduction line being optic, and not mental, but by the contemplative and theoric part thereof, doth demonstrate to us the vegetable circumference, and the ventosity of the tropics, and whereas our intellectual, or mincing capreal (according to the metaphysicks) as you may read in Pla,to's Histriomastix— You conceive me, sir ?^ The italics are my own, and indicate words and phrases found in Marston's Histriomastix and the Scourge of Villanie. Even without the specific mention of Histrio- mastix, the evidence would be fairly convincing. Jonson. who loved a chaste simplicity in language, possibly harbored no ill feeling against Marston, but merely took this means to cure his friend of an unfortunate affec- tation. Whatever his intention, it is certain that Mar- ston's resentment was aroused, for he answered Jonson in unmistakable language. For our investigation, Jack Drum's Entertainment, in which Marston next publicly expressed himself, is of great interest, since it immediately preceded, and hence in part provoked whatever attack Cynthia's Revels may contain. The play is a comedy of intrigue, dealing chiefly with the love of two characters, Pasquil and Kather- ine. In the humorous underplot there appears, among others, a wit, critic, and practical joker, called Brabant Senior. Certain aspects of his character are certainly intended as a humorous caricature of Jonson. He crit- icises the 'modern wits,' calls 'the new Poet Mellidus' (Marston) 'a slight bubling spirit, a Corke, a Huske,' and finally concludes that they are all, except himself, ' apes and guls, vile imitating spirits, drie heathie Turffes.'^ At the conclusion of the play, it is learned that a practical joke which he had designed for a poor Frenchman has reacted on himself, and he has been made a cuckold by a jest of his own devising. In strikingly earnest language he is arraigned by one of his fellows: 1 Every Man Out 3. 1, p. 95. 2 p. jgS. The Satire xlvii Why should'st thou take felicitie to gull Good honest soules ? And in thy arrogance, And glorious ostentation of thy wit, Thinke God infused all perfection Into thy soule alone, and made the rest For thee to laugh at ? Now, you Censurer, Be the ridiculous subject of our mirth. These lines contain an unmistakable reflection on Jonson, the man who had so lately stepped forth in his 'humor- comedies' as self-appointed critic of the age, and who had incidentally chastened the fiery-spirited Marston in the second of these plays. Few men of Jonson's vanity and self-esteem could resist such a challenge ; hence we naturally expect him to take the opportunity afforded in Cynthia's Revels, his next play, to return Marston's attack. The first problem in Cynthia's Revels is to determine the identity of the characters, if identity they have. In Cynthia all critics see Elizabeth, but there perfect agreement ceases. Crites, to be sure, is recognized as a portrayal of Jonson, but it is no easy matter to say just how far the poet consciously identified himself with this character; he is at times so extravagantly praised that it seems hard to believe that Jonson could have intended a consistent portrait of himself.^ For example, in 2. 3. 127 ff., he is described as 'a creature of a most perfect and divine temper, ... so composde & order'd, as it is ^ Aronstein, Shak. Jahrhucli 44 (1908). 373, gives a clear expression of this view: 'Dass Jonson sich in dem vollkommenen Crites in Cyn- thia's Revels habe selbst darstellen woUen, wie Castelain mit anderen annimmt (S. 86), eine solche Abgeschmacktheit brauchen wir ihm nicht zur Last zu legen. Asper, Crites, Horace, Truewit— das sind einfach Verkorperungen der satirischen Weltbetrachtung, des ethischen Ideals des Dichters, aus denen sich allerdings interessante Rlickschliisse auf seine eigene Entwicklung als satirischer Welt- betrachter ziehen lassen.' xlviii Introduction cleare, Nature went about some ful worke, she did more then make a man, when she made him.' Again in 5. 8, 21 ff., Arete represents him as composed, 'not of usuall earth, but of that nobler, and more precious mould, which Phoebus selfe doth temper.' Turning to the other characters, we fmd Symonds, as early as 1886, in his study of Ben Jonson, identifying Hedon and Anaides with Marston and Dekker, but making no further identi- fications except the obvious ones of Crites and Cynthia. Three years later, Swinburne published a small volume on Jonson. He ridiculed the notion that Cynthia's Revels contained anything more than the vaguest person- al satire, remarking in conclusion : ' To any rational and careful student it must be obvious that until the publi- cation of Jonson's Poetaster we cannot trace, I do not say with any certainty of evidence, but with any plausi- bility of conjecture, the identity of the principal persons attacked or derided by the satirist. '^ Fleay, in his Chronicle of the English Drama, 1891, swings to the other extreme, and characteristically sees a personality behind nearly every one of the dramatis personcE, offering an identification even for Narcissus, who does not appear at all, and is surely referred to merely for the sake of explaining the Fountain of Self-Love.^ Penmman is in- fluenced in his attempt at identification by a fact which no one can overlook who has read Cynthia's Revels with Every Man out of his Humor fresh in his mind; namely, the repetition of many of the same characters in the second play. Eight characters thus appear twice: ^ A Study of Ben Jonson, p. 22. 2 Chron. of the Eng. Drama 1. 363-4. The following identifications are suggested: Narcissus, Lyly; Crites, Jonson; Amorphus, Rich; Asotus, Lodge; Hedon, Daniel; Anaides, Dekker; Cos, George Whetstone; Lupus in fabula (2. 3. 78), Wolf (the publisher). The Satire Every Man Out. Cyn. Rev. Asper Critea Puntarvolo Amorphus Fungoso Asotus Fastidious Brisk Hedon Carlo Buffone Anaides Deliro Citizen Fallice Citizen's wife Saviolina Philautia xlix Accordingly, Penniman, who has just shown that Carlo, Brisk, Fungoso, and Puntarvolo represent respectively Marston, Daniel, Lodge, and Munday, also identifies Anaides, Hedon, Asotus, and Amorphus with these same men.^ Small takes the attitude that Every Man out of his Humor contains little or no personal satire, and that the only characters in Cynthia's Revels meant to represent individuals are Hedon and Anaides. His identification of these two is based on a famous passage from Satiromastix (p. 195), in which Dekker, who in the latter play is called Demetrius, applies to himself and Marston (Crispinus) lines that refer to Anaides and Hedon ^i Horace. That same Crispinus is the silliest Dor, and Faninus [Demetrius] the sUghtest cob-web-lawne peece of a Poet, oh God ! Why should I care what every Dor doth buz In credulous eares, it is a crowne to me, That the best iudgements can report me wrong'd. Asinius. I am one of them that can report it: Hor. I thinke but what they are, and am not moov'd. The one a hght voluptuous Reveler, The other, a strange arrogating puffe. Both impudent, and arrogant enough. Asin. S'lid do not Criticus Revel in these lynes, ha Ningle ha ? The verse is from Cynthia's Revels 3. 3. 8—10 and 24—27, where Crites in a soliloquy expresses his disdain of the plots which Hedon and Anaides have been laying for ^ War, p. 76. 2 Stage-Quarrel, p. 30. 1 Introduction him. Small recognizes the fact that Hedon and (particu- larly) Anaides do not fit the characters of Marston and Dekker perfectly; this he explains by arguing that they represent the latter only in so far as they correspond to Crispinus and Demetrius in Poetaster, and that in other respects they show themselves to be transition- characters from Carlo and Brisk in Every Man out of his Humor. In my opinion, the conclusions of most of the critics from Fleay on indicate a lack of appreciation of the general nature of practically all the satire in Cynthia's Revels. When one compares it carefully with the formal and informal satire of the time, and with the character-books of a few years later, one is impressed with its essential similarity to all these types, and accord- ingly with its conventional quality. In the section on sources I have tried to make this clear. But there are several passages where a different tone is apparent, where the poet seems for the moment to have cast aside his abstractions, and adopted a manner which suggests a form of personal address to his enemies and detractors. The satire of this sort is found chiefly in the hundred lines comprising scenes 2 and 3 of Act 3. In Act 2, scene 2, Hedon and Anaides plot against Crites ; the latter, who passes by, overhears their machina- tions, and in the next scene expresses his scorn of such enemies. The two courtiers in their conversation charge Crites with being a bookworm, a candle-waster, a poor scholar dressed in rough garments, one who is confident and self-satisfied, and cannot be provoked to passion. They determine to speak venom of him and poison his reputation everywhere ; wherever his doings are dis- cussed in public or in private, they will censure them, and declare him a plagiarist. Crites cares not in the least for all their designs ; coming from such a source. The Satire li they would do him good, rather than harm. What sensible man would heed Anaides, the impudent gallant, or Hedon, the reveler ? They pretend to aim at other objects, but he sees through their clever tricks, and knows that their venom is directed at him. It is difficult to read these lines and not believe that Jonson is thinking of his own detractors, men who despised him and had spread calumnious reports about him in an effort to injure his reputation. While it is just possible that memories of real or imagined insults from Marston and Dekker were lurking in the poet's mind, it is certainly more natural to suppose that un- happy experiences with the gallants of Elizabeth's court were responsible for the bitterness here exhibited. It is true that the passage from Saiiromastix (quoted on page xlix) in which Dekker seems to identify Hedon and Anaides with Crispinus (Marston) and Demetrius (Dekker) of Poetaster inclines one at first to the opinion that Dekker believed Jonson had himself and Marston in mind. It is not likely, however, that Dekker intro- duced the quotation from Cynthia's Revels with any thought of identification. Mr. Brooke, discussing this matter in his recently published Tudor Drama, says : 'From the comment of Asinius . . ., " S'lid, do not Crit- icus Reuel in these lynes ? " it seems clear that Dekker's purpose in quoting the passage is merely to ridicule the pompous egoism of Criticus-Horace- Jonson, and not at all to suggest the identity of the two pairs of characters about whom the words are spoken. In fact,' he con- tinues, 'Hedon and Anaides do not resemble Marston and Dekker either as the latter actually were, or as Jonson caricatured them in The Poetaster. The former are extravagant and feeble-minded gallants of the court, whose offence against Criticus consists not in literary rivalry, but in the spreading of calumnious reports. d2 lii Introduction Only prepossession in favor of a theory could well suggest a connection between these symbolic representatives of fashionable dissipation . . . and the beggarly hacks, Crispinus and Demetrius, of The Poetaster.'^ Although it is not likely that any of the gallants in Cynthia's Revels were intended to represent real person- ages, it is almost certain that several thrusts which Jonson makes at his fellow playwrights were directed mainly against Marston and Dekker. In the Induction (lines 178—97) certain poets are described, men who are ' promoters of other mens iests ' ; who ' way-lay all the stale apothegmes, or olde bookes, they can heare of (in print, or otherwise) to farce their Scenes withall' ; and who 'feeding their friends with nothing of their owne, but what they have twice or thrice cook'd, . . . wantonly give out, how soone they had drest it,' etc. The charges of plagiarism made against Marston and Dekker in Poetaster, together with the fact that Dekker, as shown by several passages in Satiromastix, greatly prided himself on his ability to compose rapidly, in- dicate pretty plainly that Jonson had Marston and Dekker in mind when he wrote these words. Again, the satire on poetasters who never fail to use every strange word they have gotten acquainted with, even though it destroy their meaning (2. 4. 15), was probably intended mainly for Marston. The presence of these rather blunt strictures on the conduct of Marston and Dekker removes still further the likelihood that satire ot so different a character was visited upon them in the same play through their representation by the two courtiers. ^ P. 377, note. See also pp. 380 ff., where the theory is advanced that jealousy between the two rival companies, the Chamberlain's Men and the Children of her Majesty's Chapel, may have been a more important factor in the stage-quarrel than has generally been rec- ognized. The Satire liii Later plays connected with the stage-quarrel support the hypothesis that Hedon and Anaides were not intended nor understood to be representations of Marston and Dek- ker. Jonson himself, in the Apologetical Dialogue of Poet- aster (p. 514), professes to have borne the insults of his enemies, till at last, 'unwilling, but weary ... of so much trouble,' he decided to 'try if shame could win upon 'em.' In other words, he considered Poetaster his first sustained attack on them, a fact which is perfectly in harmony with the theory that they are assailed in Cyn- thia's Revels only in the comparatively few lines where certain poets are charged with ' servile imitation,' adap- tation of the work of others, pride at the rapidity of their own craftsmanship, and the misuse of words. Dekker is probably referring to this semi-disguised encounter when he says in Satiromastix, pp. 197—8: But when your dastard wit will strike at men In corners, and in riddles folde the vices Of your best friends, you must not take to heart, If they take off all gilding from their piUes, And onely offer you the bitter Coare. Further support for this idea is found in Marston 's What You Will. As Small has pointed out, clear refer- ences to Cynthia's Revels, but no allusions to Poetaster, show that this play must have appeared shortly before the latter. The passages which point to Cynthia's Revels are as follows: No, sir ; should discreet Mastigophoros, Or the dear spirit acute Canaidus . . . should these once menace me, Or curb my humours with well-govern'd check, I should with most industrious regard. Observe, abstain, and curb my skipping hghtness ; But when an arrogant, odd, impudent, A blushless forehead, only out of sense liv Introduction Of his own wants, bawls in malignant questing At others' means of waving gallantry,— Pight foutra! 2. 1, p. 351. With this, compare Cynthia's Revels 3. 3. 18—24: If good Chrestus, Euthus, or Phronimus, had spoke the words, They would have moov'd me, and I should have call'd My thoughts, and actions, to a strict accompt Vpon the hearing: But when I remember, 'Tis Hedon, and Anaides: alasse, then, I thinke but what they are, and am not stirr'd. Again, we have in What You Will 2. i, p. 352: A man can scarce . . . eat good meat. Anchovies, caviare, but he's satired And term'd fantastical by the muddy spawn Of shmy newts. The parallel passage is in Cynthia's Revels 2. 3. 108—10, which was, however, changed by Jonson in the folio; hence I quote from the quarto: He doth learne to eat Anchoves, & Caveare because he loves 'hem. These passages prove beyond question that the play follows Cynthia's Revels. The two characters who concern us in this play are Lampatho Doria and Quadratus, both satiric poets with virulent tongues. That one or the other is meant for Jonson is recognized by the critics, but, strangely enough, opinion seems about equally divided as to which represents Jonson and which Marston. Small thinks that Lampatho is Jonson, and that Quadrat- us, though expressing some of Marston's ideas, is merely a 'critic on the stage. '^ Penniman and Schelling identify Quadratus with Jonson, ^ and Dixon, though uncertain, is inchned to agree with them.^ It is not possible here to ^ Stage-Quarrel, pp. 110-4. ^ ^^^^ ^^ 138-43; Elizabethan Drama 1. 488. ^ Cambridge Hist, of Eng. Lit. 6. 49. The Satire Iv weigh these confhcting views, which have been mentioned merely to show that in any case the satire on Jonson is neither a very bitter nor a very personal one; for if it were, there would be no possibility of uncertainty as to which Marston meant for a portrait of his enemy, and which for one of himself. Hence, Marston cannot have taken the portrayal of Hedon as a representation of himself ; for if he had done so, he would have retaliated in this play, written just after Cynthia's Revels, in a much more savage fashion. The remaining events in the quarrel are quickly related. Jonson, learning that his enemies were preparing a vigorous satire on himself, for once in his life worked with rapidity, and produced Poetaster in fifteen weeks: 'I determined,' he says, to 'try if shame could win upon 'em, And therefore chose Agustus Caesar's times, When wit and arts were at their height in Rome, To shew that Virgil, Horace, and the rest Of those great master-spirits, did not want Detractors then, or practicers against them: And by this line, although no parallel, I hoped at last they would sit down and blush. "^ Jonson is represented by the poet Horace; Marston and Dekker, by Crispinus and Demetrius. The latter, who are both rimesters of a poor order, envy the ability and position of the former. A banquet at which the guests impersonate the gods is brought to a sudden conclusion by Caesar and Horace, the latter having learned of it and informed the Emperor. The malice of Crispinus, who chanced to be present, is redoubled toward the informant; aided by a bragging captain, Tucca by name, he secures his arrest. Horace, after easily clearing himself, brings a countercharge against Crispinus and 1 Poetaster, Apologetical Dialogue, pp. 514-5. Ivi Introduction Crispinus ' friend, Demetrius, to the effect that they have Hbeled him in a play. They are tried and convicted, and a pill is administered to Crispinus which causes him to vomit up a score or two of 'wild outlandish terms,' to which he had previously in his writing shown an un- natural devotion. A diet of the best classic writers is prescribed him, and he is earnestly advised to conduct himself in the future with more humility. Satiromastix , or the Untrussing of the Humorous Poet, the play written as an answer to Poetaster, must have been produced in great haste. Dekker, who did the work, seems to have taken a partly written tragedy intended to portray the unlawful passion of King William Rufus for the maiden Celestine, and the latter's death at the hands of her father to save her from dishonor, and grafted upon it his Horace-Crispinus-Demetrius episodes. A sub- plot, introducing an absurd Welshman and his friends, supplies a comic element, and indeed the play becomes a comedy through the recovery of Celestine, who proves to have been drugged, not poisoned, by her father. The portions dealing with Horace are well distributed through the play, and contain numerous allusions to Poetaster and to Cynthia's Revels. Horace is first discovered in his study, turning out poor verses very slowly and painfully. Crispinus and Demetrius visit him, and take him to task for his arrogance; the conversation is concluded by his pledging his love to them, and solemnly promising to abuse them no longer. He soon breaks his word, however, by writing epigrams on them, which are distributed by his henchman, Asinus. For this new offense, Horace is given a double punishment : he is tossed in a blanket, and finally crowned with nettles, and required to give oath that he will no longer err as he has in the past, a number of his" misdeeds being specifically mentioned. Two of them suggest passages in the Induction of Cynthia's Sources Ivii Revels: he must swear 'not to bumbast out a new play, with the olde lynings of lests, stolen from the Temples Revels'; and when his plays are misliked at Court, he must not 'crye Mew like a Pusse-cat,' and say he is glad he writes out of the courtiers' element. Some of the satire is rather severe, but not more so than that found in Poetaster. Such passages as the following draw our sympathy to Dekker (p. 198) : In troth we doe, out of our loves we come. And not revenge, but if you strike us still, We must defend our reputations: Our pens shall like our swords be alwayes sheath'd, Unlesse too much provockt, Horace if then They draw bloud of you, blame us not, we are men. Jonson's Apologetical Dialogue, appended to Poet- aster, in which he promised to drop the quarrel and devote himself to tragedy, seems to have ended the strife, for we find Marston soon after collaborating with Jonson; and Dekker, who never showed very much bitterness, did not refer to it again in any of his works. E. Sources I. LYLY Cynthia's Revels, especially certain scenes in the first and fifth acts, presents a striking contrast to Jonson's other plays. Excepting only Cynthia's Revels and the Sad Shepherd, the charming pastoral which he left unfinished at his death, his comedies are all intensely realistic. The haze of imagination and mystery with which his contemporaries, even realists like Dekker, enveloped their work at times, was banished in Jonson's plays by the glaring sunlight of fact. He enjoyed best sketching the men and women whom he saw from day to Iviii Introduction day on the London streets, and in the playhouses and taverns, showing a preference, as a rule, for the least charming and ideal among them; hence, rogues, gulls, and foolish gallants form his most important characters. Dol Common has been called the greatest woman he ever created, and certainly his best male characters are clever sharpers. This fondness for a faithful portrayal of nature was extended to his Roman tragedies, and made them marvels of historical accuracy. It was responsible, too, for the irritation which his fellow-dramatists caused him by carelessness in regard to geographical details,^ and by the 'admirable dexterity' with which they shifted their scene of action from one country to another. ^ He hated to hear language 'fly from all humanity,' as it did in Tamburlaine. ' The true artificer will not run away from nature, as he were afraid of her,' he tells us, 'or depart from life and the likeness of truth. '^ And yet we find the man who expresses such views placing his scene in the romantic vale of Gargaphie, endowing the nymph Echo with body and speech after she has suffered the loss of both for three thousand years, and causing his whole plot to turn on the drinking of water from a magic fountain. The man who caused Jonson thus to depart from his established practice was none other than the poet Lyly. Lyly has three comedies which must have served in some degree as models to Jonson: Sapho and Phao, Endimion, and My das. They are all allegories of court- life under classical names. In these, as in Cynthia's Revels, we find a highly adulatory tone maintained toward Elizabeth ; indeed, praise and flattery of her seem to be very important, if not the prime, motives in their composition. In each one some notable event of political ^ Conversations, Wks. 9. 385. ^ Every Man Out, Induct., p. 23. 3 Explorata, Wks. 9. 159. Sources lix or personal significance to the Queen has been selected as the basis of the plot. Thus the Duke of Alengon's departure from England in 1582 is employed in Sapho and Phao; the antagonistic relations of Philip II toward England appear in Mydas, the titular character being none other than the King of Spain himself ; and in Endim- ion, the theme of Sapho and Phao is repeated, this time Leicester, the former lover of Queen Elizabeth, taking the leading part. Jonson, like Lyly before him, saw a political situation which he felt he could turn to his own advantage. This has already been touched upon in our discussion of the allegory in Cynthia's Revels (p. xxiv) . Elizabeth's delusive encouragement of young lovers who sought advancement at court, the efforts of younger men to force their way into the circle of her old advisers, and the discontent of a large body of the citizens who felt they were suffering from excessive taxation, all conspired to develop dangerous factions, which rendered the Queen's last years far from tranquil, and at times even menaced the government. All Jonson's sympathies placed him unhesitatingly on the side of Elizabeth. Moreover, he had an ardent desire to gain a footing at court. Accordingly, it is not surprising to find him turning to the models which Lyly had given him, in order to employ a situation similar to those which Lyly had earlier made use of. It is hardly necessary to remark that he must have hoped for better success than had crowned the efforts of Lyly. Jonson's imitation of Lyly extended further than the production of a play based on a contemporary political situation, and highly flattering to the Queen. It repro- duces in places the masque-like, Arcadian effects found in Lyly's comedies. This marks Jonson's first effort at such writing, and is extremely significant in view of the eminence which he later attained in it. Bayne says: 'In Ix Introduction Cynthia's Revels, a great realist, the author of Bartholomew Fair, succeeds in making us understand how he came to write masques. We see his mind becoming absorbed in the particular art and method of which the masque was an expression.'^ Besides the debt to Lyly's general practice, several features of Cynthia's Revels show a peculiar obligation to Endimion. The pages, Cupid, Morus, and the rest, are repetitions of Samias, Dares, and Epiton, Lyly's clever boys. In both plays we have a magic fountain in a wood. Still more striking, perhaps, is the similarity of the attitude adopted by both poets toward Cynthia. Her moon-attributes are transferred, and applied to her treat- ment of and relations with men. Thus in Jonson, as well as in Lyly, we find the moon's ceaseless influence in its regulation of the ebb and flow of the tides mentioned as an evidence of Elizabeth's stabilit}' and constancy.^ Further, we are told that time has no effect upon the moon, nor does Elizabeth remotely feel its passage:^ Yeeres are beneath the spheres: and time makes weake Things under heaven, not powers which governe heaven.'* The waxing and the waning of the moon is turned to good use by both poets, but in a somewhat different manner. Lyly mamtains that both gods and men would be transported by her charms if she remained perpetually in the glory of her fullness, hence modesty compels her to wane.^ With Jonson, her waning represents the burn- ing out of her 'virgin-waxen torch,' which she expends in giving light to men who are too often ungrateful for the bounty they receive. Of course the sort of treatment which Elizabeth is accorded in Cynthia's Revels had . 1 Cambridge Hist, of Eng. Lit. 6. 380. 2 Cyn. Rev. 5. 5. 19-22; Endimion 1. 1, p. 6. 3 Endimion 1. 1, p. 7. « Cyn. Rev. 5. 11. 38-9. Sources Ixi already become traditional, yet the similarity in method of the two poets points unmistakably to Lyly's influence. It is more than likely that Jonson derived the general idea of Cupid's conduct from Gallathea} Cupid's deter- mination to assume a disguise and amuse himself with Diana's n^inphs, his subsequent discovery by Diana, and his inability to withstand her chastity, while worked out differently in detail, are all present in the earlier play. Several specific passages from Gallathea must, I think, have been in Jonson's mind. In Lyly's play, Cupid is first introduced to us in conversation with one of Diana's nymphs. The latter, after declaring that her companions are all virgins who find their pleasure not in love, but in the chase, leaves him. He then remarks: Diana, and thou, and all thine, shall know that Cupid is a great god; I will practise a while in these woodes, and play such pranckes with these nymphes, that while they ayme to hit others with their arrowes, they shall bee wounded themselves with their owne eyes.^ In Cynthia's Revels, Cupid thus unfolds his purpose to Mercury : Here doe I meane to put off the title of a god, and take the habite of a page, in which disguise ... I wiU get to follow some one of Dianaes maides, where (if my bow hold, and my shafts fUe but with halfe the willingnesse, and aime they are directed) I doubt not, but I shaU really redeeme the minutes I have lost, by their so long and over-nice proscription of my deitie, from their court. ^ In Gallathea, Cupid is finally captured by Diana, and turned over to his mother Venus. ' I will bee wary how my Sonne wander againe,' remarks the latter, 'but Diana cannot forbid him to wound.' To which Diana responds: 'Yes, chastitie is not within the levell of his bow.'* And in Cynthia's Revels, Mercury thus predicts ^ Cf. Baskervill, Eng. Elements in Jonson^s Early Comedy, p. 242. 2 1. 2, p. 224. » 1. 1. 106-13. * 5. 3, p. 271. 1 xii Introduction Cupid's inability to wound : ' All that I feare, is Cynthias presence; which, with the cold of her chastitie, casteth such an antiperistasis about the place, that no heate of thine will tarry with the patient.'^ It has often been assumed that Jonson in Cynthia's Revels is ridiculing Lyly's dramatic practice, and also the courtly discourse made popular a dozen years previous by the latter's Euphuistic romances. The first of these theories finds some support in the remark put into the mouth of the child who sketches the argument of the drama in the Induction (50—2): 'Take anie of our play- bookes without a Cupid, or a Mercury in it, and burne it for an heretique in Poetrie.' This alludes, of course, to Lyly, but does not necessarily imply more than a whimsi- cal reference to his well-known practice. The underlying serious motive of the play, and the important place which Elizabeth has in the portions most closely imitated from Lyly, imply the adoption of this style merely because of its peculiar applicability. A careful examination of the affected language of the courtiers shows it to be quite different from that which Lyly used, a fact which has been remarked on by more than one critic of recent years. 'Cynthia's Revels,' says Bond, 'is so far from being ridicule of Lyly that it is written in much the same severe temper as the Anatomy of Wit : it is a carica- ture, to which some personal rebuff, perhaps, had lent a sting, of that courtly society whose humour the novel, of twenty years before, had been found to fit.'^ The same question has often been raised in regard to Love's Labor's Lost. The answer which Bond makes to this has equal application to Cynthia's Revels : ' The style of the courtiers in Love's Labor's Lost is rather the inflated metaphorical style made fashionable at the Spanish Court about this 1 5. 10. 31-34. 2 Quarterly Review, Jan., 1896, p. 122. Sources Ixiii period by Luis de Gongora ; and the play itself is an attack on violation of nature by convention or affectation of any kind.'^ II. CLASSICAL BORROWINGS Jonson's debt to the classics is very small in Cynthia's Revels. His classical borrowings, most of which were pointed out, at least in a general way, by Gifford, are found recorded in the notes. Classical writers to whom he owes a greater or less obligation are Juvenal, Martial, Lucian, Aristophanes, Plato, and Virgil. It is odd that we have nothing to attribute to Horace, since in his shorter satirical poems he shows the influence of the latter more often than that of Juvenal.^ The only translation or adaptation of any length from the classics is found in i. i. 1—89. Here Lucian's Dia- logues of the Gods have been put to such good use that the imitation is quite as vigorous and animated as the original — which is saying a good deal — and furnishes one of the really choice spots in our drama. Since the parallel passages from Lucian have been given in full in the notes, further discussion is unnecessary here, except a word, perhaps, in regard to Jonson's general method of using his classical sources. One of the accusations brought against him in the stage-quarrel was plagiarism. Certain- ly he used the classics freely, as a reference to his sources for such plays as Catiline and Poetaster shows; even some of his famous lyrics, 'Drink to me onlj^ with thine eyes,' and ' Still to be neat,' have been traced to classical sources. But in this matter everything depends on the method employed. There is no more reason ^ Bond, ed. Lyly, 1. 151. Cf. also Eduard Schwan, in Englische Studien 6. 103-4. 2 Alden, Eise of Formal Satire in Eng., p. 196. Ixiv Introduction to accuse Jonson of plagiarism than Shakespeare; the former, Hke the latter, thoroughly assimilated what he used, and sent it forth embodied in new and virile expres- sion. Alden remarks in this connection: 'He was able to appreciate the classical satirists as fully as any, and more able than any other to translate their spirit without slavish imitation. '1 Jonson himself professed to deem translation as valuable as invention, ^ and, indeed, indis- pensable to the true poet. 'The third requisite in our poet, or maker,' he says, having just named 'natural wit' and 'labor,' 'is imitation, to be able to convert the sub- stance or riches of another poet to his own use. . . . Not as a creature that swallows what it takes in crude, raw, or undigested; but that feeds with an appetite, and hath a stomach to concoct, divide, and turn all into nourish- ment.'^ Next to the obligation which Jonson owes Lucian is his debt to Aristophanes. In the first place, the 'nymph Argurion' was clearly suggested by thePlutus of Aristoph- anes, though Lucian's imitation of the latter in his Timon the Misanthrope may also have been in Jonson 's mind. Argurion is a strangely conceived character. According to Cupid's description of her (2. 3. 169—90), she is nothing more than a personification of money, the coin which litters gambling-tables, bribes lawyers, and refuses to tarry in the pocket of a student. Some of her actions support this notion of her which Cupid gives us. Soon after making her appearance, she falls in love with Asotus, the young spendthrift, heir of Philargyrus, loads him with jewels and bracelets as tokens of her affection, and swoons away upon his bestowal of them on the other gallants. As she is carried out. Mercury remarks, 'Well, I doubt, all the physique hee has will scarce recover her: 1 Ihid., p. 196. 2 Poetaster 5. 1, p. 496. 3 Explorata, Wks. 9. 216. Sources Ixv shee's too farre spent. '^ She probably was 'too farre spent,' since this is her final exit. She does not always, as here, act in conformity with her name : while the games in the presence-chamber are in progress, her conduct does not differ in any way from that of the other court-ladies. Jonson has not copied his model at all closely, though in Cupid's description of Argurion there are suggestions of the speech which Plutus makes when declining to enter Chremylus' house. Plutus tells of his mistreatment at the hands of men, how misers bury him deep in the ground, denying that they ever knew him when friends ask for a loan, and how spendthrifts carelessly cast him away. Certainly Jonson's conception of money, as put into Cupid's mouth, much surpasses in lively imagination Plutus' description of the treatment accorded him. In The Staple of News, Jonson has introduced another personification of money in Pecunia, Infanta of the Mines. There is some ground for believing that Jonson owed Aristophanes a much more important debt, one arising from the influence of Aristophanes on the general charac- ter of Cynthia's Revels. Certainly the strange combina- tion of real and unreal, allegory and burlesque, and the nature of the characters, who come closer to representing pure abstractions than any others Jonson ever drew, together with flights of true poetry in the passages which concern Cynthia, point to Aristophanic models. It seems as though Jonson's reverence for what he termed 'art' would have rendered so inharmonious a production impossible unless he felt, at least in a vague way, that the example of Aristophanes was giving him sanction. Taine, writing of Cynthia's Revels, says: 'Is it an opera or a comedy ? It is a lyrical comedy ; and if we do not discover in it the airy lightness of Aristophanes, at least 1 4. 3. 453-4. Ixvi Introduction we encounter, as in the Birds and the Frogs, the contrasts and medleys of poetic invention, which, through carica- ture and ode, the real and the impossible, the present and the past, comprehending the four quarters of the globe, simultaneously unites all kinds of incompatibilities, and culls all flowers.'^ III. SIXTEENTH CENTURY SATIRE A study of sources would not be complete without at least a reference to the satire of the day. In an earlier section on the satire in Cynthia's Revels, an effort is made to show the vogue which ridicule of affected courtiers, and of coxcombry in general, had attained by the year 1600. It was in the air, and even men who did not possess Jonson's rugged temperament and touch of Puritan simplicity were attracted to it. It is hard to determine how much Jonson was influenced by the men who preceded him. In the case of Shakespeare the same problem presents itself. His plays mark the culmination of the Elizabethan romantic drama, just as Jonson's mark that of Elizabethan satire; but it is very difficult to weigh the influence of his predecessors. Considering, however, the similarity in tone and aim in the work of such men as Donne, Hall, and Marston, it would be unreasonable to disregard Jonson's probable debt to them. IV. THE CHARACTER-BOOKS The unique position which Jonson holds, as the first English writer of character-sketches, has never been sufficiently emphasized. Character-writing appears, of course, in other earlier writers, as Chaucer, Skelton, and Audley, but Jonson was the first to give us the precise type and form which was cultivated during the seventeenth 1 Hist, of Eng. Lit. 1. 291. Sources Ixvii century by Hall, Overbury, Breton, Earle, Butler, and many others. The character-sketch as left us by these men deserves to be considered a distinct type of literature, almost as clearly defined as the lyric or the drama. It was always brief, generally from two to four hundred words in length, and uniformly written in terse, striking language. The best character-sketches have an epigrammatic and often jocular tone, and a vivid concreteness. Types of men, stock characters of the day, were generally chosen as their subjects, such as A Young Raw Preacher, An Upstart Knight, A Young Gentleman of the University, A Constable, A Player, etc. Sometimes inanimate objects were treated in a similar fashion: thus Earle's collection includes a sketch of A Tavern, 'A Bowie- Alley,' and Paul's Walk. It is interesting to trace Jonson's progress toward this type of writing, a progress which was marked by several distinct steps. The first is represented by the typical character of his comedies, which, to be sure, has much in common with the abstract creations of the character- writers. His dramatis personce are all individualized, not by essential qualities of nature, fundamental spiritual traits, but by vagaries and caprices, which are sometimes not so deep-seated but that they may be eradicated before the end of the play, as in Every Man out of his Humor. Accordingly, we think of the persons of his dramas, not as real mdividuals with whom we have actually come in contact for a short time, but as ' the man who could not endure noise,' 'the arch-deceiver of his fellows,' 'the unparalleled parasite,' etc. Jonson has no Dr. Faustus, no Evadne, no Rosalind. His second definite step toward character-writing is represented by the brief character-sketches of the dramatis personce prepared for Every Man out of his e2 Ixviii Introduction Humor. Into from two to ten lines he has crowded the striking traits of each individual, so that we have here a typical seventeenth-century character-book in minia- ture.^ The complete development of this idea, however, was reserved for his next play, Cynthia's Revels. The second act of Cynthia's Revels might well be called the first English character-book. It contains no fewer than eight perfect character-sketches, in method, general style, and length, remarkably similar to Over- bury's or Earle's. It being evidently Jonson's purpose to make us acquainted with his characters as soon as possible, he causes Mercury and Cupid, who have become pages, to discuss their masters and their masters' friends. Cupid first inquires of Mercury what ' parcell of man ' he has lighted on for a master. Mercury answers by describ- ing Hedon, i. e., by giving the character of a Pleasure- Loving Courtier. Hedon and Anaides next appear, converse a few moments, and depart, giving Mercury an opportunity to sketch the character of an Impudent Courtier. And so it continues till the Ideal Critic, the Deformed Traveler, the Spendthrift Fool, the Personi- fication of Money, the Foolish Woman, and the Lady of Pleasure, have all been presented. In i. 3. 30—43, Amorphus is allowed to describe himself, so that we have in all nine character-sketches. The vivid, concrete language, the ingenious selection of telling traits, and the marvelous conciseness, make them a collection of master- pieces, however out of place they may be as parts of a drama. The similarity of Jonson's characterizations to the seventeenth-century character-sketches becomes exceed- ingly striking when his descriptions of gallants are com- ■^ 'Sordido: A wretched hob-nailed chuff, whose recreation is reading of almanacks; and feUcity, foul weather. One that never pray'd but for a lean death, and ever wept in a fat harvest.' Sources Ixix pared, for example, with Earle's or Overbury's portrayal of the same types. Overbury has a sketch entitled, A Phantastique: An Improvident Young Gallant. If it were substituted for the sketches of AnaidesorAmorphus, a casual reader would scarcely detect the exchange. Like Anaides, ' he accounts bashfulness the wickedest thing in the world, and therefore studies impudence. If all men were of his mind all honesty would be out of fashion.' 'He is traveled,' we are told, 'but to little purpose; only went over for a squirt and came back again, yet never the more mended in his conditions, because he carried himself along with him.' Earle has the character of an Idle Gallant, which shows many parallels to Jon- son's characters of gallants. From An Idle Gallant. Is one that was born and shaped for his cloaths. From the sketches of gallants in Cyn. Rev. Hee never makes generall in- vitement, but against the pub- hshing of a new sute. 2. 1. 55. If he be qualified in gaming ex- traordinary he is so much the more genteel and compleat, and he learns the best oaths for the purpose. These are a great part of his discourse, and he is as curious in their newness as the fashion. Hee is a great proficient in all the illiberall sciences, as cheating, drinking, swaggering. . . . He wil blaspheme in his shirt. The othes which hee vomits at one supper, would maintaine a towne of garri- son in good swearing a twelve- moneth. 2. 2. 92. His pick-tooth bears a great part in his discourse. He walkes most commonly with a clove, or pick-tooth in his mouth. 2. 3. 90. He is furnished with his jests, as some wanderer with sermons, some three for all congregations, one especially against the schol- ar, a man to him much ridic- Stabs any man that speakes more contemptibly of the scholler then he. 2. 2. 91. Ixx Introduction ulous, whom he knows by no other definition, but a silly fel- low in black. An ornament to the room he He's thought a verie necessarie comes in as the fair bed and perfume for the presence, and for hangings be ; and is meerly that onely cause welcome thither, ratable accordingly, fifty or an 2. 1. 61. hundred pounds as his suit is. Jonson's inclination to character-writing was certainly due in part to the response which his spirit gave to the temper of the age in which he lived. The analytic spirit, which so often appears after an age of notable creative power, was already beginning to make itself felt ; and this disposition of mind, soon to become prevalent, found a very early expression in him. But though Jonson was a product of his own time, he was also a child of antiquity, deeply imbued with Latin and Greek literature, whence he drew his chief inspiration, and to which he paid an unusual reverence. It is, then, only reasonable to inquire how far the Greek character-writers influenced him. Theophrastus, born in the fourth century B. C. at Lesbos, a pupil of Aristotle, and later head of the Peripa- tetic School, has often been called the first character- writer. In 1592 Casaubon published a Latin edition of the Characters of Theophrastus, which attained such popularity that another edition was called for six years later. Of course Jonson must have known this Latin translation, and, considering his intimacy with the classics, probably knew the Greek also. Gifford, in his edition of Volpone, has identified one of the entries in the diary of Sir Pohtick Would-be as a direct borrowing from Theophrastus^; and Baldwin has remarked on the simi- larity in style of the character-sketches affixed to Every ^ Volpone 4. 1, p. 26G. Sources Ixxi Man out of his Humoy and the New Inn to those of Theophrastus.^ A still more striking use of a Greek character-sketch by Jonson is found in Eplccene. Here he has turned to excellent use a sketch by the fourth-century rhetorician, Libanius. Many details of treatment are derived from this model, as well as the underlying idea of a morose man married to a talkative woman. A detailed comparison of Jonson's character- sketches m Cynthia's Revels with those of Theophrastus is interest- ing. Such a comparison convinces one that Jonson has a very well defined obligation to Theophrastus. The latter has adopted one plan which he follows in all his sketches. He begins each one with a definition of the quality to be presented, as, for example: 'Arrogance is a certain scorn for all the world beside oneself.' He then describes the arrogant man by telling what he does, often beginning his statements by relating the circumstances which occasion the particular act, thus: '"WTien he walks m the streets he will not speak to those whom he meets. . . . If he entertains his friends, he will not dine with them himself, but will appoint a subordinate to preside. As soon as he sets out on a journey, he will send some one forward to say that he is coming,'^ etc. Even this brief quotation makes apparent certain differences in the work of the two men. A freedom and variety of expression save Jonson's sketches from the monotony found in those of Theophrastus, while a continual piquancy of thought separates him still further from his Greek model. On the other hand, both writers follow the practice of describing a character chiefly by what he does, and are about equally successful in producing a definite picture, and ^ ' Ben Jonson's Indebtedness to the Greek Character-Sketch,' Hod. Lang. Notes, 1901, pp. 385-96. 2 Jebb's trans., p. 89. Ixxii Introduction in attaining a certain necessary individuality in their typical characters. Despite the absence of specific evidences of indebtedness on the part of Jonson, the similarity of his general method makes his obligation sufficiently clear. V. TIMON Certain passages in Act i, scenes 3 and 4, of Cynthia's Revels exhibit striking parallels to passages in the old academic play Timon. This play, which owes its chief repute to the probable influence it had on Shakespeare's Timon of Athens, remained in manuscript till Dyce edited it for the Shakespeare Society in 1842; it is now also accessible in Hazlitt's Shakespeare's Library (vol. 6). Hart^ first called attention to the relationship existing between Cynthia's Revels and Timon, and Dr. BaskervilP has discussed the kinship of the two plays more at length, and printed a number of interesting parallels. Oddly enough, there seem to be no means of determining whether Cynthia's Revels is indebted to Timon, whether the re- verse is true, or whether, as Brooke has suggested, they have a common source.^ The meeting between Amorphus and Asotus, and the subsequent association of the two as teacher and pupil, fmd their counterpart in Timon in the meeting and resulting companionship of Pseudocheus, the ' lying trav- ailor,' and Gelasimus, the 'cittie heyre.' Gelasimus' sohloquy upon the loss of his betrothed, and Amorphus' remarks upon Echo's hasty departure, also exhibit a clear relationship. The comparison of a few passages will make apparent that an obligation rests on one author or the other, or on both. ^ Whs. of Ben Jonson 1. xliv. 2 Eng. Elements in Jonson's Early Comedy, pp. 268-72. 3 Tudor Drama, p. 411, note. Sources Ixxiii Cyn. Rev. Asotus. And withall, you may tell him what my father was, and how well he left me, and that I am his heire. 1. 4. 69, 70. Timon. Oelasimus. Salute him in my name; h'st, thou may'st tell him, yf thou wilt, how rich my ffather was. 1. 4, p. 12. Asotus. O gods! I'de give aU the world (if I had it) for abun- dance of such acquaintance. I. 4. 74-5. Amorphus. Since I trode on this side the Alpes, I was not so frozen in my invention. 1. 4. 79-80. Gelasimus. Good gods, how earnestUe doe I desire his ffeUow- shipp ! was I e're soe shamefac't ? 1. 4, p. 12. Amorphus. Faine to have scene him in Venice, or Padua 1 or some face neere his in simiHtude ? 't is too pointed, and open. 1. 4. 86-8. Pseudocheus. What shall I saye ? I saw his face at Thebes or Sici- he? 1. 4, p. 12. Asotus {after they have exchanged huts). SUd, this is not worth a crowne, and mine cost mee eight but this morning. 1. 4. 179-80. Pseudocheus (after they have ex- changed rings). By Jove, my ringe is made of brasse, not gould. 1. 4, p. 15. Amorphus {after Echo has fled from him). I am a Rhinoceros, if I had thought a creature of her symmetry, could have dar'd so improportionable, and abrupt a digression. . . . What should I inferre ? If my behaviours had beene of a cheape or customarie garbe; my accent, or phrase vulgar, my garments trite; my countenance ilUterate; . . . then I might . . . have suspected my faculties: but (knowing my selfe an essence so subhmated, etc. 1. 3. 17 ff. Oelasimus {after Callimela has rejected him). Soe the gods love mee, I doe nothing see that this fonde fooKshe girle can blame in mee: I am not redde hair'd, and I am noe dwarf e; what, then, can shee dislike ? are my palmes dry ? Am I not a gentleman by de- scent ? Am I not riche enough ? . . . Am I a foole ? my braines howere they are, I knowe them well; I am noe foole or asse. 3. 3, p. 49. Ixxiv Introduction If we do not accept the theory of a common source, the chances seem about evenly balanced as to whether Jonson or the author of Timon was the imitator. Dyce supposes Timon to have been ' written or transcribed about the year 1600/ but this is, of course, a mere conjecture, and cannot aid us in determining whether or not it was prior to Cyn- thia'sRevels. Its style suggests a somewhat earlier date ; and the fact that it is apparently an academic play, and was not printed, does not seem to have precluded Shakespeare from a knowledge of it,^ so that it is conceivable that Jonson also knew of it. Indeed, one writer^ is inclined, by the nature of the play itself, to believe 'that it was written for presentation in London.' On the other hand, the fact that Jonson never, so far as we know, made such extensive direct borrowings from any piece of contempor- ary literature leads one to doubt whether he would have done so in this case, thereby exposing himself to just charges of plagiarism at a time when he realized that his enemies were particularly active. F. Criticisms Gifford {Wks. 2. 361— 2) : The characters are well drawn, and well supported; and the influence of the Fountain of Self-love upon their natural vanity is pleasantly described : but they have little bearing upon one another ; while the plot of the drama is so finely spun that no eye perhaps but Jonson's has ever been able to trace it. The gradual decline of interest from Every Man in his Humour ^ Wright, Authorship of Timon of Athens, pp. 17-22. 2 J. Q. Adams, 'The Timon Plays,' Journal of Eng. and Germ. Phil., Oct., 1910, p. 511. Criticisms Ixxv to the present play, is as striking as it is mortifying, especially as the author appears to have spared no pains, and even to have exhibited more neatness of style, and perhaps more force of expression. . . . The fulsome compliments paid to the "obdurate" virgin of threescore and ten, the hoary-headed Cynthia of Whitehall, must have appeared infinitely ridiculous, if the frequency of the practice had not utterly taken away the sense of derision. Yet Jonson must not be without his peculiar praise. The language of the time was grossly adulatory; and from Spenser to the meanest scribbler, our poet was almost the only one who interspersed salutary counsels among his flatteries. Ward {Hist. Eng. Dram. Lit. 2. 353—5) : While the intention of the play is obvious — viz., an appeal from the bad taste in fashion to the sovereign authority of good taste and to the judgment of an unprejudiced audience — the dramatic execution of the design is, to say the least, perplexingly elaborate and intolerably lengthy. The plot, such as it is, lies buried beneath the characters, while the characters are buried beneath the dialogue, which in its turn largely consists of speeches of interminable length. It is equally difficult to understand how, as seems to have been the case, the audience should have borne with satisfaction so portentous a tax upon their attention, and how the Children of the Chapel, who performed the play, should have been able to get their parts by heart. The comedy begins briskly enough with an Induction of great vivacity and humour, contrived between the children-actors in their own characters ; and the first act, which prepares what plot there is to be found in the play, moves with comparative rapidity. The resurrection of Echo, indeed, although it cannot be sup- posed to have been introduced with the intention of Ixxvi Introduction satirising the frequent use of this mythological figure, has no real connexion with the action. Asotus and Amorphus, who are introduced in this act, remind us of Master Stephen and Bobadil; and are by far the best characters in the play. The second act, however, instead of making any real progress in the plot, adds a large number of new characters which are described rather than worked into the texture of the play; and as it drags its slow length along, it becomes little more than a picture of manners, so elaborately exaggerated that, though full of humorous touches, it cannot be described as anything but a caricature. Thus in this curious play Jonson allowed the theory of comedy which he had conceived, and which he here repeats, to carry him into an extreme not less objectionable than its opposite, with which he found fault. In other words, Cynthia's Rev eh may be more truly designated a 'comical satire' on the vagaries of preposterous tastes than even a comedy of manners, while it cannot take rank as a comedy of character. Swinburne [A Study of Ben Jonson, pp. 19—21) : That any audience should have sat out the five undramatic acts of this 'dramatic satire' is as inconceivable as that any reader, however exasperated and exhausted by its voluminous perversities, should fail to do justice to its literary merits; to the vigour and purity of its English, to the masculine refinement and the classic straight- forwardness of its general style. There is an exquisite song in it, and there are passages — nay, there are scenes — of excellent prose: but the intolerable elaboration of pretentious dullness and ostentatious ineptitude for which the author claims not merely the tolerance or the condonation which gratitude or charity might accord to the misuse or abuse of genius, but the acclamation due to its exercise and the applause demanded by its triumph Criticisms Ixxvii — the heavy-headed perversity which ignores all the duties and reclaims all the privileges of a dramatic poet — the Cyclopean ponderosity of perseverance which ham- mers through scene after scene at the task of ridicule by anatomy of tedious and preposterous futilities — all these too conscientious outrages offered to the very prin- ciple of comedy, of poetry, or of drama, make us wonder that we have no record of a retort from the exhausted audience — if haply there were any auditors left — to the dogged defiance of the epilogue: — By God 'tis good, and if you like 't you may. — By God 'tis bad, and worse than tongue can say. For the most noticeable point in this studiously wayward and laboriously erratic design is that the principle of composition is as conspicuous by its absence as the breath of inspiration: that the artist, the scholar, the disciple, the student of classic models, is as undiscoverable as the spontaneous humorist or poet. The wildest, the roughest, the crudest offspring of literary impulse working blindly on the passionate elements of excitable ignorance was never more formless, more incoherent, more defective in structure, than this voluminous abortion of deliberate intelligence and conscientious culture. Castelain {Ben Jonson, p. 267) : Je defie I'homme le plus indulgent d'y decouvrir meme un semblant d'action : I'auteur seul a pu se payer d'une illusion pareille. Les personnages sont exactement a la fin du cinquieme acte ce qu'ils etaient au debut du premier; I'eau de la Fontaine d' Amour-propre n'a pas sur eux d'effet appre- ciable, et si, comme on nous le fait esperer, la source d'Helicon doit avoir quelque vertu salutaire, c'est apres TEpilogue et le rideau baisse. A y bien regarder pourtant, c'est peut-etre le masque du cinquieme acte qui forme Ixxviii Introduction le noeud de la piece; c'est lui qui amcne Cynthia sur le theatre, venge Crites des insultes des sots et demasque I'indignite des courtisans ridicules. La piece serait done un masque, precede d'un prologue; mais le masque a cinq pages et le prologue une cinquantaine, et Ton y voit se derouler toute la joumee de chacun des personnages que les fetes du soir doivent reunir. Cette etrange con- struction laisse a desirer. CYNTHIAS REVELS OR The Fountayne of selfe-Loue TEXT EDITOR'S NOTE My text is that of the edition of 1616. A copy found in the Yale University Library forms the basis, certain less corrected sheets having been replaced by sheets from other impressions which show a higher state of correction ; a full discussion of the method employed in the pre- paration of the text is found in the Introduction, under Remarks on the Variations in the Impressions of the Folio, pages xii— xvii. The folio variants, and a few typo- graphical errors which have been corrected, are recorded in the textual notes printed after the text. The foot- notes to the text include variants of a more important nature : all quarto differences in form ; readings from later editions which may be viewed as emendations; and a few other suggestive changes, as well as the more important stage-directions added by Gifford. My procedure in recording only a very few readings from later editions is explained in the Introduction, under Subsequent Editions, pages xvii ff. Q — Quarto, 1601 1640 — Second Folio, 1640 i6g2 — Third Folio, 1692 iyi6 = Booksellers' edition of 1716 W = Whalley's edition of 1756 G = Gifford 's edition of 18 16 A2 THE FOVNTAINE OP SELFBLOVE. Or C YNTHI AS REVELS. As It hath beenc fundry times priuatelj aUed in the Black- Friers hy the Children cfhfr MaiefUes Chdpp£U, Written by B b n: Io h n s o k . Quod non dant Pioceres^ dabit Hi/bio* Haud taxnen inuideas vatl>quem pulplcrpaftunt. Imprinted at London for Wdur Burre^mA arc to be joldcAt hfsjhop inPaulesChurcLjard^at thepgns of the Flower de-LQcc and CrQwnCt 1 6ou Quarto Title-page. YNTHIAS REVELS, O R TheFouncayne of felfe-Loue. A Comicall Satjrt^. Adled, in the yeere itf oo. By the then Children of Queene Elizabeths C H A P P S I. The Author B. I. Mart. Nifutum vda , nolo ffflj/ffifim. L O N D O N^ Primed by William Stansby. U, DC, XVI. TOTHESPECIALL FOVNTAINE OF MANNERS: The Court. [179] Hou art a bountifully and braue spring : and water est all the no- ble plants of this Hand. Jn tliee^ the whole Ki?jgdome dresseth it selfe^ and is ambitious to vse thee as her glasse. Beware, then, thou render mens figures truly, and teach them ?70 lesse to hate their deformities, then to loue their formes: For, to grace, there should come reuer- ence ; and no man can call that louely, which is not also venerable. Jt is not pouUf ring, perfuming, and euery day smelling of the taylor, that conuerteth to a beautiful obiect: but a mind, shining through any sute, which needes no false light either of riches, or honors to helpe it. Such shalt thou find some here, euen in the raigne o/' C y n t h i a {a C R I T E s , and <^;? A r e t e.) Now, vnder thy P h CE b v s , It will be thy prouince to make more : Except thou de sir est to haue thy source mixe with the Spring o/"selfe-Loue, and so wilt draw vpon thee as welcome a discouery of thy dayes, as was then made of her nights. Thy seruant, but not slaue, Ben. Ionson. IS [180] The Persons of the Play. Cynthia. Mercvry. CVPID Hespervs, Echo. Crites. Arete. Amorphvs. Phantaste. ASOTVS. Argvrion. Hedon. Philavtia. Anaides. MORPHIDES. MORIA. Prosaites. Cos. MORVS. Gelaia. Phronesis. Thavma. ■ Mutes. Time. THE SCENE. GARGAPHIE. The number and names of the Actors Q The characters are numbered in Q Crites] Criticus (so also in all subsequent cases.) Q Morphides] am. Q THE SCENE. GARGAPHIE. om. Q [181] CYNTHIAS REVELS. After the second sounding. 1 N D V C T I N. By Three Of The Children. Ray you away ; why fellowes ? Gods so ? what doe you meane ? 2. Mary that you shall not speake the 'Prologue, sh-. 3. Why? doe you hope to speake it ? 2. I, and I thinke I haue most right to it: I am sure I studied it first. 3. That's all one, if the Authour thinke I can speake it better. I. I pleade possession of the cloake: Gentles, your suffrages I pray you. C Why Children, are you not asham'd ? come in there. 3. Slid, rie play nothing i' the Play : vnlesse I speake it. I. Why, will you stand to most voices of the gentle- men ? let that decide it. Within. 15 CYNTHIAS . . . sounding.] om. Q Q reads: AD LECTOREM Nasutum volo, nolo polyposum. INDVCTION.] Prseludium. Q By Three] Enter three Q The Stage. Enter three of the Children struggling. 1 Pray] 1. Pray Q fellowes] Children Q 13 I pray you] for Gods sake Q 14 CE] om. Q 12 Cynthias Revels [ind. 3. O no, sir gallant; you presume to haue the start of vs there, and that makes you offer so prodigally. 20 I. No, would I were whipt, if I had any such thought : trie it by lots either. 2. Faith, I dare tempt my fortune in a greater venter then this. 3. Well said, resolute lacke, I am content too: so wee 25 draw first. Make the cuts. 1. But will you not snatch my cloake, while I am stooping ? 3. No, we scorne treacherie. 2. Which cut shall speake it? 30 3. The shortest. 1. Agreed. Draw. The shortest is come to the [182] shortest. Fortune was not altogether blind in this. Now, sir, I hope I shall goe forward without your enuie. 2. A spite of all mischieuous lucke! I was once 35 plucking at the other. 3. Stay, lacke: Shd, I'le doe somewhat now afore I goe in, though it be nothing but to reuenge my selfe on the Authour : since I speake not his Prologue. He goe tell all the argument of his play aforehand, and so stale 40 his inuention to the auditorie before it come forth. At the breaches I. O, doC not SO. m this speech ^ By uo mcancs. foUoivifii; the , .,.,., ■ r^ -n, 1 other two inter- 3- First, the title of his play is Cynthias Reuels, rupthim. still, g^g j^jjy j^^j^ (that hath hope to bee saued by his booke) 45 can witnesse; the Scene, Gargaphie: which I doe vehemently suspect for some fustian countrie, but let that vanish. Here, is the court of Cynthia, whither hee brings Cvpid (trauailing on foot) resolu'd to tume 19 prodigally] bountifully Q 31 draw, [they draw cuts.] G 33 sir] Children Q 38 on] 0/ Q 43 {margin) interrupt him, still] Boyes interrupt him Q 43 3 Child [Advancing to the front of the Stage.] Q 45 GARGAPHIA Q IND.] Cynthias Revels 13 page. By the way, Cvpid meetes with Mercvrie, (as that's a thing to be noted, take anie of our play-bookes 50 without a Cvpid, or a Mercvry in it, and bume it for an heretique in Poetrie) Pray thee let me alone. Mercvry, he (in the nature of a conjurer) raises vp EccHO, who weepes ouer her loue, or Daffodill, Nar- cissvs, a little; sings; curses the spring wherein the ss prettie foolish gentleman melted himself e away : and ther's an end of her. Now I am to informe you, that Cvpid, and Mercvry doe both become pages. Cvpid attends on Philavtia, or selfe-Loue, a court -ladie: Mercvry f oUowes H e d o n , ihevoluptuous, and a court- 6° ier; one that rankes himself e euen with An aides, or the impudent, 3. gallant, (and that's my part:) one that keepes laughter, Gelaia the daughter of folly, (a wench in boyes attire) to waite on him— These, in the court, meet with Amorphvs, or the deformed; a trauailer that ss hath drunke of the fountaine, and there tels the wonders of the water. They presently dispatch away their pages with bottles to fetch of it, and themselues goe to visite the ladies. But I should haue told you (Looke, these emets put me out here) that with this Amorphvs, 70 there comes along a citizens heire. As otvs, or the prod- igall, who (in imitation of the traueller, who hath the whetstone following him) entertaines the begger, to be his attendant. Now, the Nymphs who are mistresses to these gallants, are Philavtia, selfe-Loue; Phan- 75 THASTE, a light wittinesse; Argvrion monie; and their Guardian, mother Mori a; or mistresse folly. I. Pray thee no more. 3. There Cvpid strikes monie in loue with iheprod- 60 voluptuous, and a] voluptuous Q 62 impudent, a] impudent Q 62 one] a Felloiv Q 63 *Folly {margin: *Moria) Q 72 who] that Q 73 * Whetstone [margin: *Cos) . . . *Begger {margin: *Prosaites) Q 78 1. Pray] 2. Pray Q 14 Cynthias Revels [ind. 8° igall, makes her dote vpon him, giue him iewels, brace- lets, carkenets, &c. all which (hee most ingeniously de- parts withall) to be made knowne to the other ladies and gallants ; and in the heat of this, increases his traine with the foole to follow him, aswell as the begger. By this 85 time, your begger begins to waite close, who is return'd with the rest of his fellow bottlemen. There they all drinke, saue Argvrion, who is falne into a sodaine apoplexie . ■ [183] I. Stop his mouth. 90 3. And then, there's a retired scholler there, you would not wish a thing to be better contemn'd of a societie of gallants, then it is: and hee applies his seruice (good gentleman) to the ladie Arete, or vevtue, a poore Nymph of Cynthias traine, that's scarce able to buy 95 her selfe a gowne, you shall see her play in a blacke robe anon: A creature, that (I assure you) is no lesse scorn'd, then himselfe. Where am I now ? at a stand ? 2. Come, leaue at last, yet. 3. O, the night is come, (t'was somewhat darke, mee 100 thought) and Cynthia intends to come forth: (That helps it a httle yet.) All the courtiers must prouide for reuels ; they conclude vpon a Masque, the deuice of which, is (what, will you rauish mee?) that each of these vices, being to appeare before Cynthia, would seeme 105 other then indeed they are: and therefore assume the most neighbouring vertues as their masking habites. (I'lde crie, a rape, but that you are children.) 2. Come, wee'le haue no more of this anticipation: to giue them the inuentorie of their cates aforehand, were 110 the discipline of a tauerne, and not fitting this presence. I. Tut, this was but to shew vs the happinesse of his memorie. I thought at first, he would haue plaid the 84 *Foole {margin: *Morus) Q 90 *Scholler {margin: *Criticus) Q IND.] Cynthias Revels 15 ignorant critique with euerie thing, along as he had gone, I expected some such deuice. 3. O, you shall see me doe that, rarely, lend me thy "s cloake. 1. Soft, sir, you'le speake my Prologue in it. 3. No, would I might neuer stirre then. 2. Lend it him, lend it him. I. Well, you haue sworne. ^^° 3. I haue. Now, sir, suppose I am one of your gentile auditors, that am come in (hauing paid my monie at the doore, with much adoe) and here I take my place, and sit downe ; I haue my three sorts of tabacco in my pocket, my light by me, and thus I beginne. By this light, I wonder ^^s that any man is so mad, to come to see these rascally Tits play here They doe act like so manie wrens, or pis- At the breaches mires not the fift part of a good face amongst them ^^^^^^'^''•' ^'^ ^''" all And then their musicke is abominable — able to stretch a mans eares worse then tenne pillories, »3o and their ditties most lamentable things, like the pittifull fellowes that make them Poets. By this vapour, and 'twere not for tabacco 1 thinke the verie stench of 'hem would poison mee, I should not dare to come in at their gates A man were better '3s visit fifteene jailes, or a dozen or two of hospitals then once aduenture to come neere them. How is't ? Well? I. Excellent: giue mee my cloake. 3. Stay; you shall see me doe another now: but a ^40 more sober, or better-gather'd gallant ; that is (as it may bee thought) some friend, or wel- wisher to the house : And here I enter. T. What? vpon the stage, too? [184] 120 [Gives him the cloak. O 125 this hght] Oods so Q 127 {margin) At . . . tabacco.] om. Q 132 this vapour] Gods lid Q i6 Cynthias Revels indJ M5 2. Yes: and I step forth like one of the children, and aske you, Would you haue a stoole, sir? 3. A stoole, boy? 2. I, sir, if youle giue me six pence. He fetch you one. 3, For what I pray thee? what shall I doe with it? 150 2. O lord, sir ! will youbetraie your ignorance so much ? why throne your selfe in state on the stage, as other gentle- men vse, sir. 3. Away, wagge; what, would'st thou make an imple- ment of me ? Slid the boy takes me for a piece of per- ^55 spectiue (I hold my life) or some silke cortaine, come to hang the stage here! sir cracke, I am none of your fresh pictures, that vse to beautifie the decaied dead arras, in a publike theatre. 2. Tis a signe, sir, you put not that confidence in your ^6° good clothes, and your better face, that a gentleman should doe, sir. But I pray you sir, let mee bee a suter to you, that you will quit our stage then, and take a place, the play is instantly to beginne. 3. Most willingly, my good wag: but I would speake '6s with your Authour, where's he ? 2. Not this way, I assure you, sir: wee are not so officiously befriended by him, as to haue his presence in the tiring-house, to prompt vs aloud, stampe at the booke-holder, sweare for our properties, curse the poore '70 tire-man, raile the musicke out of tune, and sweat for euerie veniall trespasse we commit, as some Authour would, if he had such fine engles as we. Well, tis but our hard fortune. 3. Nay, cracke, be not dis-heartned. '75 2. Not I, sir; but if you please to conferre with our Author, by atturney, you may, sir : our proper selfe here, stands for him. 146 a stoole] Stoole Q 150 lord] God Q IND.] Cynthias Revels 17 3. Troth, I haue no such serious affaire to negotiate with him, but what may verie safely bee turn'd vpon thy trust. It is in the generall behalf e of this faire societie ^8° here, that I am to speake, at least the more iudicious part of it, which seemes much distasted with the immodest and obscene writing of manie, in their playes. Besides, they could wish, your Poets would leaue to bee promoters of other mens iests, and to way-lay all the stale apothegmes, 185 or olde bookes, they can heare of (in print, or otherwise) to farce their Scenes withall. That they would not so penuricusly gleane wit, from euerie laundresse, or hack- ney-man, or deriue their best grace (with seruile imitation) from common stages, or obseruation of the companie they 19° conuerse with; as if their inuention liu'd wholy vpon ano- ther mans trencher. Againe, that feeding their friends with nothing of their owne, but what they haue twice or thrice cook'd, they should not wantonly giue out, how soone they had drest it ; nor how manie coaches came to 195 Carrie away the broken-meat, besides hobbie-horses, and foot-cloth nags. 2. So, sir, this is all the reformation you seeke? 3. It is: doe not you thinke it necessarie to be prac- [185] tiz'd, my little wag? =00 2. Yes, where any such ill-habited custome is receiu'd. 3. O (I had almost forgot it too) they say, the vmbrce, or ghosts of some three or foure playes, departed a dozen yeeres since, haue bin scene walking on your stage heere : take heed, boy, if your house bee haunted with such hob- -°s goblins, t'will fright away all your spectators quickly. 2. Good, sir, but what will you say now, if a Poet (vntoucht with any breath of this disease) find the tokens vpon you, that are of the auditorie ? As some one ciuet- wit among you, that knowes no other learning, then the 210 201 where] where there is Q is] om. Q 208 the] Gods Q B i8 Cynthias Revels [prol. price of satten and vellets ; nor other perfection, then the wearing of a neat sute ; and yet will censure as desperately as the most profess'd critique m the house : presuming, his clothes should beare him out in't. Another (whom it 215 hath pleas'd nature to furnish with more beard, then braine) prunes his mustaccio, lisps, and (with some score of affected othes) sweares downe all that sit about him; That the old Hieronimo, (as it was first acted) was the onely best, and iudiciously pend play of Europe. A third great- 220 bellied juggler talkes of twentie yeeres since, and when MoNSiEVR was heere, and would enforce all wits to bee of that fashion, because his doublet is still so. A fourth miscals all by the name of fustian, that his grounded capacitie cannot aspire to. A fift, only shakes his bottle- 22s head, and out of his corkie braine, squeezeth out a pittiful- learned face, and is silent. 3. By my faith, lacke, you haue put mee downe: I would I knew how to get off with any indifferent grace. Heere, take your cloke, and promise some satisfaction in 230 your Prologue, or (I'le be swome) wee haue marr'd all. 2. Tut, feare not, child, this wil neuer distaste a true sense : Be not out, and good enough. I would thou hadst some sugar-candied, to sweeten thy mouth. T/ie third sounding. PROLOG VE. IF gracious silence, sweet attention, Quicke sight, and quicker apprehension, (The lights of iudgements throne) shine any where; Our doubtfull authour hopes this is their sphere. 5 And therefore opens he himself e to those; 221 Witte Q 230 Exit. Q 231 child] SaU Q 233 Exit. Q The ... PEOLOOVE.] Prologus. Q sc. i] Cynthias Revels 19 To other weaker beames, his labours close: As loth to prostitute their virgin straine, To eu'rie vulgar, and adult'rate braine. In this alone, his Mvse her sweetnesse hath, Shee shunnes the print of any beaten p^th; " And proues new wayes to come to learned eares: Pied ignorance she neither loues, nor feares. Nor hunts she after popular applause, [186] Or fomie praise, that drops from common iawes: The garland that she weares, their hands must twine, 's Who can both censure, vnderstand, define What merit is: Then cast those piercing raies. Round as a crowne, in stead of honour'd bayes, About his poesie; which (he knowes) affoords Words, aboue action: matter, aboue words. »" vv Acf I. Scene i. CvpiD, Mercvrie. Ho goes there? Mer. Tis I, blind archer. Cvp. Who? Mercvrie? Mer. I. Cvp. Farewell. 5 Mer. Stay, Cvpid. Cvp. Not in your companie, Hermes, except your hands were riuetted at your backe. Mer. Why so, my little rouer? Cvp. Because I know, you ha' not a finger, but is as 10 long as my quiuer (cousin Mercvrie) when you please to extend it. Mer. Whence deriue you this speech, boy? 20 Exit. Q Actus Primus, Scena prima. Q A Grove and Fountain. Enter Copid, and Mebcdry with his cadiLceus, on different sides. O B2 20 Cynthias Revels [act i Cvp. O! tis your best politic to be ignorant. You did ^5 neuer steale Mars his sword out of the sheath, you? nor Neptvnes trident? nor Apolloes bow? no, not you? Alas, your palmes (Ivpiter knowes) they are as tender as the foot of a foundred nagge, or a ladies face new mercuried, the'ile touch nothing. 2° Mer. Goe too (infant) you'le be daring still. Cvp. Daring? O Ianvs! what a word is there? why, my light fether-heel'd couss', what are you? any more then my vncle Ioves pandar, a lacquey, that runnes on errands for him, and can whisper a light message to a 25 loose wench with some round volubilitie, wait mannerly at a table with a trencher, and warble vpon a crowde a little, fill out nectar, when Ganimed's away, one that sweeps the Gods drinking roome euery morning, and sets the cushions in order againe, which they threw one at anothers head 3° ouer-night, can brush the carpets, call the stooles againe to their places, play the cryer of the court with an audible voice, and take state of a President vpon you at wrestlings, pleadings, negotiations, &c. Here's the catalogue o'your imploiments now. O no, I erre, you haue the marshalling 35 of all the ghosts too, that passe the stygian ferrie, and I suspect you for a share with the old sculler there, if the [187] truth were known ; but let that scape. One other peculiar vertue you possesse, in lifting, or lieger-du-maine, (which few of the house of heau'n haue else besides) I must con- 4° fesse. But (mee thinkes) that should not make you put that extreme distance twixt your selfe and others, that we should be said to ouerdare in speaking to your nimble deitie} So Hercvles might challenge prioritie of vs both, because he can throw the barre farther, or lift more 14 policie Q 25 mannerly] om. Q 26 and warble] warble G 27 fiU . . . away] om. Q fiU] and fill G 30-33 can . . . &c. om. Q 33 o' ] of all Q 40 put that] set such an Q 43 a priority Q sc. i] Cynthias Revels 21 ioyn'd stooles at the aniies end, then we. If this might 45 carry it, then wee who haue made the whole bodie of dimnitie tremble at the twang of our bow, and enforc'd Satvrnivs himselfe to lay by his curl'd front, thunder, and three-fork'd fires, and put on a masking sute, too light for a reueller of eighteene, to be seene in 50 Mer. How now! my dancing braggart in decimo- sexto \ charme your skipping tongue, or I'le Cvp. What? vse the vertue of your snakie tip-staffe there vpon vs? Mer. No, boy, but the smart vigor of my palme about 55 your eares. You haue forgot since I tooke your heeles vp into aire (on the very houre I was borne) in sight of all the bench of deities, when the siluer roofe of the Olym- pian palace rung againe with applause of the fact. Cvp. O no, I remember it freshly, and by a particular 6° instance; for my mother Venvs (at the same time) but stoopt to imbrace you, and (to speake by metaphore) you borrowed a girdle of hers, as you did Ioves scepter (while hee was laughing) and would haue done his thunder too, but that 'twas too hot for your itching fingers. ^s Mer. Tis well, sir. Cvp. I heard, you but look't inatVuLCANS forge the other day, and intreated a paire of his new tongs along with you, for companie: Tis ioy on you (yfaith) that you will keepe your hook'd tallons in practice with any thing. 7° S'light, now you are on earth, wee shall haue you filch spoones and candle-sticks, rather then faile: pray Iove the perfum'd courtiers keepe their casting-bottles, pick- toothes, and shittle-cocks from you; or our more ordi- narie gallants their tabacco-boxes, for I am strangely 75 iealous of your nailes. Mer, Ne're trust me, Cvpid, but you are turn'd a 55 stretcht vigor of mine arme Q 59 with the Q 22 Cynthias Revels [act i most acute gallant of late, the edge of my wit is cleere taken off with the fine and subtile stroke of your thin- 80 ground tongue, you fight with too poinant a phrase, for me to deale with. Cvp. O Hermes, your craft cannot make me confi- dent. I know my owne Steele to bee almost spent, and therefore intreate my peace with you, in time : you are too 8s cunning for mee to incounter at length, and I thinke it my safest ward to close. M E R. Well, for once, I'le suffer you to winne vpon mee, wagge, but vse not these straines too often, they'le stretch my patience. Whither might you march, now? 90 Cvp. Faith (to recouer thy good thoughts) I'le dis- couer my whole proiect. The Huntresse, and Queene of [188] these groues, Diana (in regard of some black and enuious slanders hourely breath'd against her, for her diuine iustice on Acteon, as shee pretends) hath here in the 95 vale of Gargaphy, proclaim'd a solemne reuells, which (her god-head put off) shee will descend to grace, with the full and royall expence of one of her cleerest moones: In which time, it shall bee lawfull for all sorts of ingenuous persons, to visit her palace, to court her Nymphes, to »°^ exercise all varietie of generous and noble pastimes, as well to intimate how farre shee treads such malicious imputations beneath her, as also to shew how cleere her beauties are from the least wrinckle of austerity, they may be charg'd with. i°5 Mer. But, what is all this to Cvpid? Cvp. Here doe I meane to put off the title of a god, and take the habite of a page, in which disguise (during the interim of these reuells) I will get to follow some one of DiANAES maides, where (if my bow hold, and my shafts "° flie but with halfe the willingnesse, and aime they are 78 cleere] clean G 87 winne vpon] come within Q 95-6 (her . . . off)] om. Q 96 descend to] om. Q sc. ii] Cynthias Revels 23 directed) I doubt not, but I shall really redeeme the min- utes I haue lost, by their so long and ouer-nice pro- scription of my deitie, from their court. Mer. Pursue it (diuine Cvpid) it will be rare. Cvp. But will Hermes second me? ^'s Mer. I am now to put in act, an especiall designement from my father Iove, but that perform'd, I am for any fresh action that offers it selfe. Cvp. Well, then we part. Mer. Farewell, good wag. "° Now, to my charge, Eccho, faire Eccho, speake, Tis Mercvrie, that calls thee, sorrowfuU Nymph, Salute me with thy repercussiue voice. That I may know what cauerne of the earth Containes thy ayrie spirit, how, or where "s I may direct my speech, that thou maist heare. Act I . Sce/ie II. Eccho, Mercvrie. HEre. Mer. So nigh? Ecc. I. Mer. Know (gentle soule) then, I am sent from Iove, Who (pittying the sad burthen of thy woes. Still growing on thee, in thy want of wordes, To vent thy passion for Narcissvs death) Commands, that now (after three thousand yeeres. Which haue beene exercis'd in Ivnoes spight) Thou take a corporall figure, and ascend, Enricht with vocall, and articulate power. Make haste, sad Nymph, thrice shall my winged rod 119 Exit. Q SCENA. 2. Q Act... Mercvrie.] om. 1 Echo. Q Echo [below] G 12 shaU] doth Q 24 Cynthias Revels [act i Strike th'obsequious earth, to giue thee way. [189] Arise, and speake thy sorrowes, EcCHO, rise, '5 Here, by this fountayne, where thy loue did pine, Whose memorie hues fresh to vulgar fame, Shrin'd in this yellow flowre, that beares his name. Ecc. His name reuiues, and lifts me vp from earth. O, which way shall I first conuert my selfe? 2° Or in what moode shall I assay to speake. That (in a moment) I may be deliuered Of the prodigious griefe I goe withall? See, see, the mourning fount, whose springs weepe yet, Th'vntimely fate of that too beauteous boy, 25 That trophaee of selfe-loue, and spoile of nature, Who (now transform'd into this drouping flowre) Hangs the repentant head, back from the streame, As if it wish'd, would I had neuer look'd In such a flattering mirrour. O Narcissvs, 3° Thou that wast once (and yet art) my Narcissvs; Had EccHO but beene priuate with thy thoughts, Shee would haue dropt away her selfe in teares. Till shee had all turn'd water, that in her, (As in a truer glasse) thou mightst haue gaz'd, 35 And seene thy beauties by more kind reflection: But selfe-loue neuer yet could looke on truth, But with bleard beames; slieke flatterie and shee Are twin-borne sisters, and so mixe their eyes. As if you seuer one, the other dies. 4° Why did the gods giue thee a heau'nly forme, And earthy thoughts, to make thee proud of it ? Why, doe I aske? Tis now the knowne disease That beautie hath, to beare too deepe a sense Of her owne selfe-conceiued excellence. 45 O, hadst thou knowne the worth of heau'ns rich gift, 18 Ascendit Q 23 spring weepes Q sc. ii] Cynthias Revels 25 Thou wouldst haue turn'd it to a truer vse, And not (with staru'd, and couetous ignorance) Pin'd in continuall eying that bright gem, The glance whereof to others had beene more, Then to thy famisht mind the wide worlds store: 50 " So wretched is it to be meerely rich. Witnesse thy youths deare sweets, here spent vntasted. Like a faire taper, with his owne flame wasted. Mer. Eccho, be briefe, Satvrnia is abroad, And if shee heare, sheele storme at Ioves high will. 55 Ecc. I will (kind Mercvrie) be briefe as time. Vouchsafe me, I may doe him these last rites. But kisse his flowre, and sing some mourning straine Ouer his watrie hearse. Mer. Thou dost obtaine. [190] I were no sonne to Iove, should I denie thee. ^o Begin, and (more to grace thy cunning voice) The humorous aire shall mixe her solemne tunes. With thy sad words: strike musicque from the spheares, And with your golden raptures swell our eares. Song. SLow, slow, fresh fount, keepe time with my salt tear es; 65 Yet slower, yet, 6 faintly gentle springs: List to the heauy part the musique heares, "Woe weepes out her diuision, when shee sings. Droupe hearbs, and flowres; Fall grief e in showres; 70 "Our beauties are not ours: 0, I could still {Like melting snow vpon some craggie hill,) drop, drop, drop, drop, Since natures pride is, now, a wither'd daffodill. 75 47 staru'd] leane Q Song.] Cant. Q Echo [accompanied.] G 26 Cynthias Revels [act i Mer. Now, ha' you done? Ecc. Done presently (good Hermes) bide a little, Suffer my thirstie eye to gaze a while, But e'ene to taste the place, and I am vanisht. 8° Mer. Forgoe thy vse, and libertie of tongue, And thou maist dwell on earth, and sport thee there. Ecc. Here yong Acteon fell, pursu'de, and torne By Cynthia's wrath (more eager, then his hounds) And here, (ay me, the place is fatall) see 8s The weeping Niobe, translated hither From Phrygian mountaines: and by Phgebe rear'd As the proud trophaee of her sharpe reuenge. Mer. Nay, but heare. Ecc. But here, O here, the Fountayne of selfe-Loue, 90 In which Latona, and her carelesse Nymphs, (Regardles of my sorrowes) bathe themselues In hourely pleasures. Mer. Stint thy babling tongue; Fond EccHO, thou prophan'st the grace is done thee: So idle worldlings (meerely made of voice) 95 Censure the powers aboue them. Come, away, lovE calls thee hence, and his will brookes no stay. Ecc. O, stay: I haue but one poore thought to clothe In ayrie garments, and then (faith) I goe. Henceforth, thou trecherous, and murthering spring, 100 Be euer call'd the Fountayne of selfe-Loue : And with thy water let this curse remaine, 11911 (As an inseparate plague) that who but tastes A drop thereof, may, with the instant touch, Grow dotingly enamor'd on themselues. .05 Now, Hermes, I haue finisht. Mer. Then thy speech. Must here forsake thee, Ecc ho, and thy voice (As it was wont) rebound but the last wordes. Farewell. Ecc. Well. 84 ay] ah G 102 taste G 108 Exit. Q sc. Ill] Cynthias Revels 27 Mer. Now, Cvpid, I am for you, and your mirth, To make me light before I leaue the earth. Act I . Scene 1 1 i . Amorphvs, Eccho, Mercvrie. DEare sparke of beautie, make not so fast away. Ecc. Away. Mer. Stay, let me obserue this portent yet. A MO. I am neither your Minotaur e, nor your Centaurc, nor your Satyre, nor your Hycena, nor your Babion, but your mere trauailer, beleeue me. Ecc. Leaue me. Mer. I guess'd it should bee some trauailing motion pursude Eccho so. A MO. Know you from whom you flie? or whence? Ecc. Hence. A MO. This is somewhat aboue strange! a Nymph of her feature, and hneament, to be so preposterously rude ! well, I will but coole my self e at yon' spring, and follow her. Mer. Nay, then I am familiar with the issue: I'le leaue you too. A MO. I am a Rhinoceros, if I had thought a creature of her symmetry, could haue dar'd so improportionable, and abrupt a digression. Liberall, and diuine fount, suffer my prophane hand to take of thy bounties. By the puritie of my taste, here is most ambrosiacke water ; I will sup of it againe. By thy fauour, sweet fount. See, the water (a more running, subtile, and humorous Nymph then shee) 109 Mer.] om. Q SCENA. 3 Q Act . . . Mekcvrie.] Enter Amorphds hastily. G 1 Amo. Q 11 Exit. Q 16 Exit. Q 18 would Q 20 bounties, [takes up some of the water.] G 28 Cynthias Revels [act i permits me to touch, and handle her. What should I ■^5 inferre ? If my behauiours had beene of a cheape or cust- omarie garbe; my accent, or phrase vulgar; my garments trite; my countenance illiterate; or vnpractiz'd in the encounter of a beautifull and braue-attir'd peece; then I might (with some change of colour) haue suspected my 3" faculties : but (knowing my selfe an essence so sublimated, and refin'd by trauell; of so studied, and well exercis'd a gesture ; so alone in fashion ; able to tender the face of any states-man lining; and to speake the mere extraction of language ; one that hath now made the sixth returne vpon 35 venter; and was your first that euer enricht his countrey with the true lawes of the duello; whose optiques haue drunke the spirit of beautie, in some eight score and eighteen Princes courts, where I haue resided, and beene [192] there fortunate in the amours of three hundred for tie and 4° fine ladies (all nobly, if not princely descended) whose names I haue in catalogue; to conclude, in all so happy, as euen admiration her selfe doth seeme to fasten her kisses vpon me: Certes, I doe neither see, nor feele, nor taste, nor sauour the least ste?me, or fume of a reason, 4 5 that should inuite this foolish fastidious Nymph, so pee- uishly to abandon me. Well, let the memorie of her fleet into aire; my thoughts and I am for this other element, water. Acf I . Scene 1 1 1 1 . Crites, Asotvs, Amorphvs. Hat! the wel-dieted Amorphvs become a water- drinker ? I see he meanes not to write verses then . Aso. No, Crites? why? VV 32 tender] make Q, render 1640— G 40 if not princely] om. Q SCENA. 4. Q Act . . . Amorphvs] Enter GmrKS and AsoTDS. G 1 Crit. Q sc. iiii] Cynthias Revels 29 Cri. Because Nee placer e diu, nee viuere carmina possunt, qucB scrihuntur aqucB potorihus. 5 Amo. What say you to your Helicon? Cri. O, the Mvses well! that's euer excepted. Amo. Sir, your Mvses haue no such water, I assure you ; your nectar, or the iuyce of your nepenthe is nothing to it; tis aboue your metheglin, beleeue it. 1° A s o. Metheglin ! what's that, sir ? may I be so audacious to demand? Amo. a kind of greeke wine I haue met with, sir, in my trauailes: it is the same that Demosthenes vsually drunke, in the composure of all his exquisite, and melli- ^5 fluous orations. Cri. That's to be argued (Amorphvs) if we may credit Lvci an , who in his Encomio Demosthenis affirmes, hee neuer drunke but water in any of his compositions. Amo. Lvcian is absurd, hee knew nothing: I will -« beleeue mine owne trauailes, before all the Lvcians of Europe. He doth feed you with fittons, figments, and leasings. Cri. Indeed (I thinke) next a trauailer, he do's prettily well. 25 Amo. I assure you it was wine, I haue tasted it, and from the hand of an Italian Antiqiiarie, who deriues it authentically from the Duke of Ferrara's bottles. How name you the gentleman you are in ranke with there, sir ? Cri. Tis Asoxvs, sonne to the late deceas'd Phil- 30 argyrvs the citizen. Amo. Was his father of any eminent place, or meanes ? Cri. He was to haue beene Prcetor next yeere. Amo. Ha! A prettie formall yong gallant, in good sooth : pitty, he is not more gentilely propagated. Harke 35 you, Crites, you may say to him, what I am, if you 4 iVec] Quia nulla Q 18 Encomium Q 21 my Q 22 fittons, figments] fictions Q 30 Cynthias Revels [act i please: though I affect not popularitie, yet I would be loth to stand out to any, whom you shall vouchsafe to call friend. [193] Cri. Sir, I feare I may doe wrong to your sufficiencies in the reporting them, by forgetting or misplacing some one; your selfe can best enforme him of your selfe, sir: except you had some catalogue, or list of your faculties readie drawTie, which you would request mee to shew 45 him, for you, and him to take notice of. A MO. This C RITES is sowre: I will thinke, sir. Cri. Doe so, sir. O heauen! that any thing (in the likenesse of man) should suffer these rackt extremities, for the vttering of his sophisticate good parts. 5° A so. Crites, I haue a sute to you; but you must not denie mee : pray you make this gentleman and I friends. Cri. Friends! Why ? is there any difference betweene you? A so. No, I meane acquaintance, to know one another. 55 Cri. O, now I apprehend you ; your phrase was without me, before. A so. In good faith, hee's a most excellent rare man, I warrant him! Cri. S'light, they are mutually inamor'd by this time! 6« Aso. Will you, sweet Crites? Cri. Yes, yes. Aso. Nay, but when ? you'le defer it now, and forget it. Cri. Why, is't a thing of such present necessitie, that it requires so violent a dispatch ? 65 Aso. No, but (would I might neuer stirre) hee's a most rauishing man! good Crites, you shall endeare me to you, in good faith-law. Cri. Well, your longing shall be satisfied, sir. 43 list] Inuentory Q 46 sour; [aside.] 49 [Aside. G 59 [Aside. G 67 faith-law.] faith; la! G sc. nil] Cynthias Revels 31 A so. And withall, you may tell him what my father was, and how well he left me, and that I am his heire. 70 Cri. Leaue it to mee. Fie forget none of your deare graces, I warrant you. A so. Nay, I know you can better marshall these affaires then I can — O gods! I'de giue all the world (if I had it) for abundance of such acquaintance. 7s Cri. What ridiculous circumstance might I deuise now, to bestow this reciprocall brace of butter-flies one vpon another ? A MO. Since I trode on this side the Alpes, I was not so frozen in my inuention. Let mee see : to accost him with ^o some choice remnant of Spanish, or italian? that would indifferently expresse my languages now: mary then, if he should fall out to be ignorant, it were both hard, and harsh. How else ? step into some ragioni del stato, and so make my induction ? that were aboue him too ; and out ^s of his element, I feare. Faine to haue scene him in Venice, or Padua ? or some face neere his in similitude ? t'is too pointed, and open. No, it must be a more queint, and collaterall deuice. As — stay: to frame some encomiastick speech vpon this our Metropolis, or the wise magistrates 9° thereof, in which politique number, 'tis ods, but his fa- ther fill'd vp a roome ? descend into a particular admi- ration of their iustice; for the due measuring of coales, burning of Cannes, and such like ? As also their religion, [194] in pulling downe a superstitious crosse, and aduancing 95 a Venvs, or Priapvs, in place of it? ha? 'twill doe well. Or to talke of some hospitall, whose walls record his father a Benefactor ? or of so many buckets bestow'd on his parish church, in his life time, with his name at length (for want of armes) trickt vpon them? Any of these? ^oo Or to praise the cleannesse of the street, wherein hee 74 I'de] i'le Q 11 butter-flies] Cockscombes Q 78 [Aside. G 84 ragioni del stat6\ discourse of State Q 32 Cynthias Revels [act i dwelt ? or the prouident painting of his posts against hee should haue beene PrcBtorl or (leaning his parent) come to some speciall ornament about himselfe, as his rapier, 105 or some other of his accoutrements ? I haue it : Thanks, gracious Minerva. A so. Would I had but once spoke to him, and then Hee comes to me. A MO. 'Tis a most curious, and neatly- wrought band, "° this same, as I haue scene, sir. A so. O god, sir. A MO. You forgiue the humour of mine eye, in obseru- ing it. Cri. His eye waters after it, it seemes. "5 A so. O lord, sir, there needes no such apologie, I assure you. Cri. I am anticipated: they'll make a solemne deed of gift of themselues; you shall see. A MO. Your ribband too do's most gracefully, in troth. ^2° A so. Tis the most gentile, and receiu'd weare now, sir. A MO. Beleeue mee, sir (I speake it not to humour you) I haue not scene a young gentleman (generally) put on his clothes, with more iudgement. A so. O, tis your pleasure to say so, sir. "5 A MO. No, as I am vertuous (bemg altogether vn- trauel'd) it strikes me into wonder. A so. I doe purpose to trauaile, sir, at spring. A MO. I thinke I shall affect you, sir. This last speech of yours hath begun to make you deare to me. »3o A so. O god, sir. I would there were any thing in mee, sir, that might appeare worthy the least worthinesse of your worth, sir. I protest, sir, I should endeuour to shew it, sir, with more then common regard, sir. 108 Hee . . . me] om. Q 114 Cri. His . . . seemes.] om. Q \_Aside. O 118 [Aside. G 119 ribband] Rose Q sc. nil] Cynthias Revels 33 Cri. O, here's rare motley, sir. A MO. Both your desert, and your endeuours are plenti- 135 full, suspect them not : but your sweet disposition to trau- aile (I assure you) hath made you anothermy-selfe in mine eye, and strooke mee inamor'd on your beauties. A so. I would I were the fairest lady of France for your sake, sir, and yet I would trauaile too. ^40 A MO. O, you should digresse from your selfe else: for (beleeue it) your trauaile is your only thing that rectifies, or (as the Italian sales) vi rendi pronto all' attioni, makes you fit for action. A so. I thinke it be great charge though, sir. ^45 Amor. Charge? why tis nothing for a gentleman that fi95] goes priuate, as your selfe, or so ; my intelligence shall quit my charge at all times. Good faith, this hat hath possest mine eye exceedingly; tis so prettie, and fantastike : what ? ist a beauer? '50 A sot. I, sir. He assure you tis a beauer, it cost mee eight crownes but this morning. Amor. After your French account? A sot. Yes, sir, Crit. And so neere his head ? beshrow me, dangerous. 155 Amor. A verie prettie fashion (beleeue me) and a most nouel kind of trimme: your band is conceited too! A sot. Sir, it is all at your seruice. Amor. O, pardon me. A sot. I beseech you, sir, if you please to weare it, 160 you shall doe mee a most infinite grace. Crit. S'light, will he be praisde out of his clothes? A sot. By heauen, sir, I doe not offer it you after the Italian manner; I would you should conceiue so of me. Amor. Sir, I shall feare to appeare rude in denying 165 134 [Aside. G 152 eight] six Q 153-5 om. Q 155 [Aside. G 157 band] Button Q C 34 Cynthias Revels [act i your courtesies, especially, being inuited by so proper a distinction: may I pray your name, sir? AsoT. My name is Asotvs, sir. Amor. I take your loue (gentle Asotvs) but let me '7' winne you to receiue this, in exchange Crit. 'Hart, they'll change doublets anon. Amor. And (from this time) esteeme your self e, in the first ranke, of those few, whom I professe to loue. What make you in companie of this scholler, here ? I will bring ^75 you knowne to gallants, as Anaides of the ordinarie, He don the courtier, and others, whose societie shall render you grac'd, and respected : this is a triuiall fellow, too meane, too cheape, too course for you to conuerse with. A sot. Slid, this is not worth a crowne, and mine cost iS'^ mee eight but this morning. Crit. I lookt when he would repent him, he ha's begunne to bee sad a good while. Amor. Sir, shall I say to you for that hat? be not so sad, be not so sad: it is a relique I could not so easily 185 haue departed with, but as the hieroglyphicke of my affec- tion; you shall alter it to what forme you please, it will take any blocke; I haue receiu'd it varied (on record) to the three thousandth time, and not so few : It hath these vertues beside ; your head shall not ake vnder it ; nor your 190 braine leaue you, without licence ; It will preserue your complexion to etemitie ; for no beame of the sunne (should you weare it vnder Zona torrida) hath power to approch it by two ells. It is proofe against thunder, and inchantment : and was gmen mee by a great man (in Russia) as an 193 especiall-priz'd present; and constantly affirm'd to bee 170 [They exchange beavers. G 171 [Aside. O 175 of the ordinarie] om. Q 178 too cheape] om. Q 180 eight] six Q 184 tis Q 187 receiu'd . . . record)] varied it my selfe Q 192 power] force Q 193 Tis Q 195 especially- priz'd Q sc. v] Cynthias Revels 35 the hat, that accompanied the politike Vlysses, in his [196] tedious, and ten yeeres trauels. A SOT. By lovE, I will not depart withall, whosoeuer would giue me a million. Act I. Scene v. Cos, Criticvs, Amorphvs, Asotvs, Prosaites. SAue you, sweet blouds : do's any of you want a crea- ture, or a dependant? Crit. Beshrow me, a fine blunt slaue! Amor. A page of good timber ! it will now bee my grace to entertaine him first, though I casheere him againe in s priuate: how art thou cal'd? Cos. Cos, sir, Cos. Crit. Cos? How happily hath fortune furnisht him with a whetUone} Amor. I doe entertaine you, Cos, conceale your 10 qualitie till wee be priuate; if your parts be worthie of me, I will countenance you ; if not, catechize you : gentles, shall we goe ? A SOT. Stay, sir; He but entertaine this other fellow, and then 1 haue a great humour to taste of this 15 water too, but He come againe alone for that marke the place. What's your name, youth? Pros. Prosaites, sir. AsoT. Prosaites? A verie fine name, Crites? is't not ? 20 Crit. Yes, and a verie ancient, sir, the begger. A SOT. Follow me, good Prosaites: Let's talke. Crit. He will ranke euen with you (er't be long) If you hold on your course. O vanitie, SCENA. 5. Q 1 Cos. Q Act . . . Prosaites.] Enter Cos and Prosaites. G 21 Exeunt. Q 22 [Exeunt all but Crites. O C2 36 Cynthias Revels [act i 25 How are thy painted beauties doted on, By light, and emptie ideots! how pursu'de "With open and extended appetite! How they doe sweate, and run themselues from breath, Rais'd on their toes, to catch thy ayrie formes, 30 Still turning giddie, till they reele like drunkards, That buy the merrie madnesse of one houre. With the long irkesomenesse of following time! O how despisde and base a thing is a man, If he not striue t'erect his groueling thoughts 35 Aboue the straine of flesh ! But how more cheape When, euen his best and vnderstanding part, (The crowne, and strength of all his faculties) Floates like a dead drown'd bodie, on the streame [197] Of vulgar humour, mixt with commonst dregs ? 40 I suffer for their guilt now, and my soule (Like one that lookes on ill-affected eyes) Is hurt with meere intention on their follies. Why will I view them then? my sense might aske me Or ist a raritie, or some new obiect, 45 That straines my strict obseruance to this point ? O would it were, therein I could affoord My spirit should draw a little neere to theirs, To gaze on nouelties: so vice were one. Tut, she is stale, ranke, foule, and were it not 50 That those (that woo her) greet her with lockt eyes, (In spight of all the impostures, paintings, drugs. Which her bawd custome dawbes her cheekes withall) Shee would betray, her loth'd and leprous face, And fright th'enamor'd dotards from themselues: 55 But such is the peruersenesse of our nature. That if we once but fancie leuitie, (How antike and ridiculous so ere 33 a man] Man Q, man 1716—0 sc. v] Cynthias Revels 37 It sute with vs) yet will our muffled thought Choose rather not to see it, then auoide it. And if we can but banish our owne sense, ^o We act our mimicke trickes with that free licence. That lust, that pleasure, that securitie. As if we practiz'd in a paste-boord case. And no one saw the motion, but the motion. Well, checke thy passion, lest it grow too lowd: 65 "While fooles are pittied, they waxe fat, and proud. Act I I . Scene 1 . CvpiD, Mercvry. "\ 7"\ 7Hy, this was most vnexpectedly followed (my diuine delicate Mercvry) by the beard of lovE, thou art a precious deiiie. Mer. Nay, Cvpid, leaue to speake improperly, since wee are turn'd cracks, let's studie to be like cracks; prac- 5 tise their language, and behauiours, and not with a dead imitation: act freely, carelessely, and capriciously, as if our velnes ranne with quiclc-siluer, and not vtter a phrase, but what shall come forth steept in the verie brine of conceipt, and sparkle like salt in fire. '° Cvp. That's not euerie ones happinesse (Hermes) though you can presume vpon the easinesse, and dextentie of your wit, you shall giue me leaue to be a little jealous of mine : and not desperately to hazard it after your capr- ing humour. ^5 Mer. Nay, then, Cvpid, I thinke wee must haue you [198] hood-winkt againe, for you are growne too prouident, since your eyes were at libertie. 66 Exit. Finis Actus Primi. Q ACTVS SECVNDVS. SCENA. 1. Q The Court. Enter Cdpid and Mercury dis- guised as pages. G 1 Cup. Q 38 Cynthias Revels [act ii Cvp. Not so (Mercvry) I am still blind Cvpid to 2° thee. Mer. And what to the ladie Nymph you serue? Cvp. Troth, page, boy, and sirha : these are all my titles. Mer. Then thou hast not altered thy name, with thy disguise ? 25 Cvp. O, no, that had beene supererogation, you shall neuer heare your courtier call but by one of these three. Mer. Faith, then both our fortunes are the same. Cvp. Why? what parcell of man hast thou lighted on for a master? 30 Mer. Such a one (as before I begin to decipher him) I dare not affirme to be any thing lesse then a courtier. So nmch hee is, during this open time of reuels, and would be longer, but that his meanes are to leaue him shortly after. His name is Hedon, a gallant wholy consecrated 35 to his pleasures. Cvp. Hedon? he vses much to my ladies chamber, I thinke. Mer. How is she cal'd, and then I can shew thee? Cvp. Madame Philavtia. 40 Mer. 1, he affects her verie particularly indeed. These are his graces. Hee doth (besides me) keepe a barber, and a monkie : Hee has a rich wrought wast-coat to entertaine his visitants m, with a cap almost sutable. His curtaines, and bedding are thought to bee his owne: 45 his bathing-tub is not suspected. Hee loues to haue a fencer, a pedant, and a musician scene in his lodging a mornings. Cvp. And not a poet? Mer. Fye no: himself e is a rimer, and that's a thought 50 better then a poet. He is not lightly within to his mercer, 31 affirme him Q lesse] else Q 49 a thought] thought 1693 -G sc. II] Cynthias Revels 39 no, though he come when he takes physicke, which is commonly after his play. He beates a tailour very well, but a stocking-seller admirably: and so consequently any one hee owes monie too, that dares not resist him. Hee neuer makes generall inuitement, but against the 55 publishing of a new sute, marie then, you shall haue more drawne to his lodging, then come to the lanching of some three ships; especially if he be fumish'd with supplies for the retyrmg of his old ward-robe from pawne: if not, he do's hire a stocke of apparell, and some fortie, or fiftie i^° pound in gold, for that fore-noone to shew. He's thought a verie necessarie perfume for the presence, and for that onely cause welcome thither : sixe millaners shops af f oord you not the like sent. He courts ladies with how many great horse he hath rid that morning, or how oft he hath "5 done the whole, or the halfe pommado in a seuen-night before : and sometime venters so f arre vpon the vertue of his pomander, that he dares tell'hem, how many shirts he has sweat at tennis that weeke, but wisely conceales so many dozen of bals hee is on the score. Here hee comes, :■■-> that is all this. B Act II. Scene 11. [199] Hedon, Mercvry, Anaides, Gelaia, Cvpid. Oy. Mer. Sir. H E D. Are any of the ladies in the presence ? Mer. None yet, sir, Hed. Giue me some gold, more. 5 Ana. Is that thy boy, H e d o n ? Hed. I, what think'st thou of him? 65 oft he hath] oft he has Q SCENA. 2. Q Act . . . Cvpid.] Enter Hedon, Anaides, and Gelaia, 1 Hedon. Q 40 Cynthias Revels [act ii Ana. S'hart, Il'd geld him ; I warrant he has the philos- ophers stone. 1° Hed. Well said, my good melancholy deuill: Sirrah, I haue deuisde one or two of the prettiest othes (this morning in my bed) as euer thou heard'st, to protest withall in the presence. Ana. Pray thee, let's heare 'hem. 15 Hed. Soft, thou'lt vse 'hem afore me. Ana. No (dam'me then) I haue more othes then I know how to vtter, by this ayre. Hed. Faith, one is, by the tip of your eare, sweet ladie. Is't not prettie, and gentile? 20 Ana. Yes, for the person 'tis applyed to, a ladie. It should bee light, and Hed. Nay, the other is better, exceeds it much: the inuention is farder fet too. By the white valley that lies betweene the Alpine hits of your bo some, I protest &c. .^5 Ana. Well, you trauel'd for that. He don. Mer. I, in a map, where his eyes were but blinde guides to his vnderstanding, it seemes. Hed. And then I haue a salutation will nicke all, by this caper: hay! r,o Ana. How is that? Hed. You know I call madame Philavtia, my Honour; and shee cals me her Ambition. Now, (when I meet her in the presence anon) I will come to her, and say, sweet Honour, I haue hitherto contented my sense with the 35 lillies of your hand, but now I will taste the roses of your lip ; and (withall) kisse her : to which she cannot but blushingly answere, nay, now you are too ambitious. And then doe I reply; / cannot bee too ambitious of honour, sweet ladie. Wil't not be good ? ha ? ha ? 40 Ana. O, assure your soule. 29 hay] ho Q c. ii] Cynthias Revels 41 Hed. By heauen, I thinke 'twill bee excellent, and a verie politike atchiuement of a kisse. Ana. I haue thought vpon one f or M o r i a , of a sodaine too, if it take. Hed. What is't, my deare inuention? 45 Ana. Mary, I will come to her, (and shee alwayes weares a muffe, if you bee remembred) and I will tell her, [200] Madame, your whole selfe cannot but be perfectly wise: for your hands haue wit enough to keepe themselues warme. Hed. Now, (before Iove) admirable! looke, thy page 50 takes it too, by Phcebus, my sweet facetious rascall, I could eate water-gruell with thee a moneth, for this iest, my deare rogue. Ana. O, (by Hercvles) 'tis your onely dish, aboue all your potato's, or oyster-pyes in the world. 55 Hed. I haue ruminated vpon a most rare wish too, and the prophecie to it, but He haue some friend to be the prophet ; as thus : I doe wish my selfe one of my mistresse Cioppini. Another demands. Why would he be one of his Mistresse cioppini ? A third answeres. Because he would 60 make her higher. A fourth shall say, That will make her proud. And a fifth shall conclude: Then doe I prophecie, pride will haue a fall, and he shall giue it her. Ana. rie be your prophet. By gods so, it will be most exquisite, thou art a fine inuentious rogue, sirrah. 65 Hed. Nay, and I haue poesies for rings too, and riddles that they dreame not of. Ana. Tut, they'll doe that, when they come to sleep on 'hem time enough : but were thy deuices neuer in the presence yet, Hedon ? t> Hed. O, no, I disdaine that. Ana. Twere good we went afore then, and brought them acquainted with the roome where they shall act, 45 inuention] mischief e Q 50 admirable! [Oelaia laughs.] G 53 my] O my Q 59, 60 aopino's Q 69 'hem] the Q 42 Cynthias Revels [act ii lest the strangenes of it put them out of countenance, 75 when they should come forth. Cvp. Is that a courtier too? Mer. Troth no; he has two essentiall parts of the courtier, pride, and ignorance; mary, the rest come somewhat after the ordinarie gallant. Tis impudence it 8° self e, A N A I D E s ; one, that speakes all that comes in his cheekes, and will blush no more then a sackbut. Hee lightly occupies the iesters roome at the table, and keepes laughter, Gelaia (a wench in pages attire) following him in place of a squire, whom he now and then tickles with 85 some strange ridiculous stuffe, vtter'd (as his land came to him) by chance. He will censure or discourse of any thing, but as absurdly as you would wish. His fashion is not to take knowledge of him that is beneath him in clothes. Hee neuer drinkes below the salt. Hee do's 90 naturally admire his wit, that weares gold-lace, or tissue. Stabs any man that speakes more contemptibly of the scholler then he. Hee is a great proficient in all the illiber- all sciences, as cheating, drinking, swaggering, whoring, and such like: neuer kneeles but to pledge healths, nor 95 prayes but for a pipe of pudding tabacco. He wil blas- pheme in his shirt. The othes which hee vomits at one supper, would maintaine a towne of garrison in good swear- ing a twelue-moneth. One other genuine qualitie he has, which crownes all these, and that is this: to a friend in »oo want, hee will not depart with the waight of a soldred groat, lest the world might censure him prodigall, or report him a gull: mary, to his cockatrice, or punquetto, [201] halfe a dozen taffata gownes, or sattin kirtles, in a paire or two of moneths, why they are nothing. 105 Cvp. I commend him, he is one of my clients. 76 Exeunt. Q \Exeunt Hedon and Anaides. O 78 ignorance] Ignorance (I meane of such a Courtier, who is (indeed) but the Zani to an exact Courtier) Q 104 [They retire to the hack of the stage. sc. Ill] Cynthias Revels 43 Act 1 1 . Scene i 1 1 . Amorphvs, Asotvs, Cos, Prosaites, Cvpid, Mercvrie. COme, sir. You are now within in regard of the pres- ence, and see, the priuacie of this roome, how sweetly it offers it selfe to our retir'd intendments. Page, cast a vigilant, and enquiring eye about, that we be not rudely.surpriz'd, by the approch of some ruder stranger. 5 Cos. I warrant you, sir. I'le tell you when the wolfe enters, feare nothing. Mer. O, what a masse of benefit shall we possesse, in being the inuisible spectators of this strange shew, now to be acted? ^° A MO. Plant your selfe there, sir: and obserue me. You shall now, as well be the ocular, as the eare-witnesse, how cleerly I can refell that paradox, or rather pseudodox, of those, which hold the face to be the index of the mind, which (I assure you) is not so, in any politique creature: 15 for instance. I will now giue you the particular, and distinct face of euery your most noted species of persons, as your marchant, your scholer, your souldier, your lawyer, courtier, &c. and each of these so truly, as you would sweare, but that your eye shal see the variation 2° of the lineament, it were my most proper, and genuine aspect. First, for your marchant, or citie-face, 'tis thus, a dull, plodding face, still looking in a direct line, forward : there is no great matter in this face. Then haue you your students, or academique face, which is here, an honest, 25 simple, and methodicall face : but somewhat more spread SCENA. 3. Q Act . . . Mercvrie.] Enter Amorphds, Asotus, and Cos. G 1 Amor. Q in] om. Q, 1692— G 20 shal see] sees Q 22 Marchants Q 44 Cynthias Revels [act ii then the former. The third is your souldiers face, a menacing, and astounding face, that lookes broad, and bigge: the grace of this face consisteth much in a beard. 3° The anti-face to this, is your lawyers face, a contracted, subtile, and intricate face, full of quirkes, and turnings, a labyrinthcsan face, now angularly, now circularly, euery way aspected. Next is your statists face, a serious, solemne, and supercilious face, full of formall, and square 35 grauitie, the eye (for the most part) deeply and arti- ficially shadow'd : there is great iudgement required in the making of this face. But now, to come to your face of faces, or courtiers face, tis of three sorts, according to our subdiuision of a courtier, elementarie, practique, and theo- 4° rique. Your courtier theorique, is hee, that hath arriu'd to his fardest, and doth now know the court, rather by speculation, then practice ; and this is his face : a fastidious and oblique face, that lookes, as it went with a vice, and were screw'd thus. Your courtier practike, is he, that is 45 yet in his path, his course, his way, & hath not toucht the puntilio, or point of his hopes; his face is here: a most [202 1 promising, open, smooth, and ouer-flowing face, that seemes as it would runne, and powre it selfe into you. Somewhat a northerly face. Your courtier elementarie, so is one but newly enter'd, or as it were in the alphabet, or vt-re-mi- fa-sol-la of courtship. Note well this face, for it is this you must practice. A so. He practice 'hem all, if you please, sir. A M o. I, hereafter you may : and it will not be altogether 55 an vngratefull study. For, let your soule be assur'd of this (in any ranke, or profession what-euer) the more generall, or maior part of opinion goes with the face, and (simply) respects nothing else. Therefore, if that can be 29 consists Q 35-6 arteficially and deeply Q 46 his hopes] hopes Q this face Q 49 Somewhat . . . face.] om. Q 50-1 or vt-] Vt- Q 56 whatsoeuer Q more] most Q sc. Ill] Cynthias Revels 45 made exactly, curiously, exquisitely, thorowly, it is inough : But (for the present) you shall only apply your f-o selfe to this face of the elementarie courtier, a light, reueUing, and protesting face, now blushing, now smiling, which you may helpe much with a wanton wagging of your head, thus, (a feather will teach you) or with kissing your finger that hath the ruby, or playing with some 65 string of your band, which is a most quaint kind of melancholy besides: or (it among ladies) laughing lowd, and crying vp your owne wit, though perhaps borrow'd, it is not amisse. Where is your page ? call for your casting- bottle, and place your mirrour in your hat, as I told you : 70 so. Come, looke not pale, obserue me, set your face, and enter. Mer. O, for some excellent painter, to haue tane the copy of all these faces! Aso. Prosaites. 75 A MO. Fye, I premonisht you of that : In the court, boy, lacquay, or sirrah. Cos. Master, Lupus in O, t'is Prosaites. Aso. Sirrha prepare my casting-bottle, I thinke 1 must be enforc'd to purchase me another page, you see so how at hand Cos waits, here. Mer. So will he too, in time. Cvp. What's he, Mercvrie? Mer. a notable smelt. One, that hath newly enter- tain'd the begger to follow him, but cannot get him to 85 wait neere enough. T'is Asotvs, the heire of Philar- GVRVs: but first I'le giue yee the others character, which may make his the cleerer. He that is with him, is Amorthvs, a trauailer, one so made out of the mixture 67-9 or . . . amisse] om. Q 73 Mer.] Amor. Q 74 \^Aside. O 77 lacquay] om. Q 78 Enter Prosaites. O 79 prepare] prepare me Q 81 Exeunt. Q [Exeunt Am^rphus, Asotus, Cos and Prosaites. O 84 smelt] Finch Q 87 you Q 46 Cynthias Revels [act ii 9° and shreds of formes, that himselfe is truly deform'd. He walkes most commonly with a cloue, or pick-tooth in his mouth, hee is the very mint of complement, all his behauiours are printed, his face is another volume of essayes; and his beard an Aristarchus. He speakes all 95 creame, skimd, and more affected then a dozen of waiting women. He is his owne promoter in euery place. The wife of the ordinarie giues him his diet, to maintaine her table in discourse, which (indeed) is a meere tyrannic ouer her other guests, for hee will vsurpe all the talke : ten con- i°° stables are not so tedious. He is no great shifter, once a yeere his apparell is readie to reuolt. He doth vse much to arbitrate quarrels, and fights himselfe, exceeding well [203] (out at a window.) He will lye cheaper then any begger, and lowder then most clockes: for which he is right i°5 properly accommodated to the whetstone, his page. The other gallant is his Zani, and doth most of these trickes after him; sweates to imitate him in euery thing (to a haire) except a beard, which is not yet extant. He doth learne to make strange sauces, to eat cenchouies, maccaroni, "o houoli, fagioli, and cauiare, because hee loues 'hem ; speakes as hee speakes, lookes, walkes, goes so in clothes, and fashion: is in all, as if he were moulded of him. Mary (before they met) he had other verie prettie sufficien- cies, which yet he retaines some light impression of: as "5 frequenting a dancing schoole, and grieuously torturing strangers, with inquisition after his grace in his galliard. He buyes a fresh acquaintance at any rate. His eye and his rayment confer much together as he goes in the street. He treades nicely, like the fellow that walkes vpon ropes ; "o especially the first Sunday of his silke-stockings : and when he is most neat, and new, you shall strip him with commendations. 92 Hee's Q 96 Hee's Q 109 to make . . . sauces] om. Q 109-10 maccaroni, houoli, fagioli} om. Q 112 as if] as Q 119 like a Q sc. Ill] Cynthias Revels 47 Cvp. Here comes another. Mer. I, but one of another straine, Cvpid: This fellow weighs somewhat. Crttes Cvp. His name, Hermes? passetkiy. Mer. Crites. A creature of a most perfect and diuine temper. One, in whom the humours and elements are peaceably met, without emulation of precedencie: he is neyther to phantastikely melancholy, too slowly phlegmat- ^30 icke, too lightly sanguine, or too rashly cholericke, but in all, so composde & order'd, as it is cleare. Nature went about some ful worke, she did more then make a man, when she made him. His discourse is like his behauiour, vncommon, but not vnpleasing; hee is prodigall of ney- 13s ther. Hee striues rather to bee that which men call iudicious, then to bee thought so : and is so truly learned, that he affects not to shew it. Hee will thinke, and speake his thought, both freely: but as distant from deprauing another mans merit, as proclaiming his owne. For his ho valour, tis such, that he dares as little to offer an iniurie, as receiue one. In summe, he hath a most ingenuous and sweet spirit, a sharp and season 'd wit, a straight iudg- ment, and a strong mind. Fortune could neuer breake him, nor make him lesse. He counts it his pleasure, to us despise pleasures, and is more delighted with good deeds, then goods. It is a competencie to him that hee can bee vertuous. He doth neyther couet nor feare ; hee hath too much reason to doe eyther : and that commends all things to him. 150 Cvp. Not better then Mercvry commends him. Mer. O, Cvpid, tis beyond my deitie to giue him his due prayses: I could leaue my place in heauen, to hue among mortals, so I were sure to be no other then he. 132 went] was Q 140 another] any other Q 142 In- genious Q 144 mind] minde; constant and vnshaken Q 145 nor] or Q 48 Cynthias Revels [act ii 155 Cvp. S'light, I beleeue he is your minion, you seeme to be so rauisht with him. M E R. He's one, I would not haue a wry thought darted against, wiUingly. [204] Cvp. No, but a straight shaft in his bosome, He promise 160 him, if I am Cithereas sonne. Mer. Shall we goe, Cvpid? Cvp. Stay, and see the ladies now: they'll come pres- ently. He helpe to paint them. Mer. What! lay colour vpon colour? that affords but *65 an ill blazon. Argurion Cvp. Here comes mettall to helpe it, the ladie Argvr- passethby. ^^^ Mer. Monie, monie. Cvp. The same. A 'Nymph of a most wandring and '70 giddy disposition, humorous as the aire, shee'le runne from gallant to gallant (as they sit at frimero in the presence) most strangely, and seldome stayes with any. Shee spreads as shee goes. To day you shall haue her looke as cleere and fresh as the morning, and to morrow as melancholike as '75 mid-night. Shee takes speciall pleasure in a close obscure lodging, and, for that cause, visites the city so often, where shee has many secret true-concealing fauourites. When shee comes abroad, shee's more loose and scattering then dust, and will flie from place to place, as shee were rapt 1 80 with a whirle-winde. Your yong student (for the most part) shee affects not, only salutes him, and away: a poet, nor a philosopher, shee is hardly brought to take any notice of; no, though he be some part of an alchemist. Shee loues a player well, and a lawyer infinitely : but your ^85 foole aboue all. Shee can doe much in court for the obtayning of any sute whatsoeuer, no doore but flies open to her, her presence is aboue a charme. The worst in her 174 Melancholy Q 111 secret and Q 182 nor] or Q 185 in the Q sc. iiii] Cynthias Revels 49 is want of keeping state, and too much descending into inferior and base offices, she's for any coorse imployment you will put vpon her, as to be your procurer, or pandar. ^9° Mer. Peace, Cvpid, here comes more worke for you, another character or two. Act I I . Scene 1 1 1 1 . • Phantaste, Moria, Philavtia, Mercvrie, Cvpid. STay, sweet Philavtia, I'le but change my fanne, and goe presently. MoR. Now (in very good serious) ladies, I will haue this order reuerst, the presence must be better main- tayn'd from you: a quarter past eleuen, and ne're a 5 Nymph in prospectiue ? beshrew my hand, there must be a reform'd discipline. Is that your new ruffe, sweet lady- bird? By my truth, 'tis most intricately rare. Mer. Good Iove, what reuerend gentlewoman in yeeres might this be ? ^° Cvp. This, Madam Moria, guardian of the Nymphs. One that is not now to be perswaded of her wit, shee will thinke her selfe wise against all the iudgements that come. A lady made all of voice, and aire, talkes any thing of any thing. Shee is like one of your ignorant Poetasters of the ^s time, who when they haue got acquainted with a strange [205] word, neuer rest till they haue wroong it in, though it loosen the whole fabricke of their sense. Mer. That was pretty and sharply noted, Cvpid. Cvp. Shee will tell you, Philosophie was a fine reueller, ^° when shee was yong, and a gallant, and that then (though she say it) she was thought to be the Dame-D i d o , and SCENA. 4. Q Act . . . Cvpid.] Enter Phantaste, Moria, and Philautia. G 1 Pha. Q 11 This] 'Tis 1640 -G D 50 Cynthias Revels [act ii H ELLEN of the court: As also, what a sweet dogge shee had this time foure yeeres, and how it was call'd Fortune, 25 and that (if the fates had not cut his thred) he had beene a dogge to haue giuen entertainement to any gallant in this kingdome : and, vnlesse shee had whelpt it her selfe, shee could not haue lou'd a thing better i'this world. Mer. O, I pray thee no more, I am full of her. 30 Cvp. Yes (I must needes tell you) shee composes a sack-posset well; and would court a yong page sweetly, but that her breath is against it. Mer. Now, her breath (or something more strong) pro- tect mee from her: th'other, th'other, Cvpid. 35 Cvp. O, that's my lady andmistris, Madam Philav- TiA. Shee admires not her selfe for any one particularity, but for all: shee is faire, and shee knowes it: shee has a pretty light wit too, and shee knowes it : shee can dance, and shee knowes that too : play at shittle-cock, and that 40 too: no quality shee has, but shee shall take a very particular knowledge of, and most lady-like commend it to you. You shall haue her at any time reade you the historic of her selfe, and very subtilly runne ouer another ladies sufficiencies, to come to her owne. Shee has a good 45 superficiall iudgement in painting; and would seeme to haue so in poetry. A most compleat lady in the opinion of some three, beside her-selfe. Phi. Faith, how lik'd you my quippe to He don, about the garter? was't not witty? 50 MoR. Exceeding witty and integrate: you did so aggrauate the iest withall. Phl And did I not dance mouingly the last night? MoR. Mouingly ? out of measure (in troth) sweet charge. Mer. A happy commendation, to dance out of measure. 24 yeere Q 27-8 and . . . world] om. Q 52 the] om. Q 63 chargel Lady Q sc. iiii] Cynthias Revels 51 MoR. Saue only you wanted the swim i' the turne: ss 6! when I was at fourteene Phi. Nay, that's mine owne from any Nymph in the court (I am sure on't) therefore you mistake me in that, Guardian: both the swimme and the trip, are properly mine, euery body will affirme it, that has any iudgement 6° in dancing: I assure you. Pha. Come now, Philavtia, I am for you, shall we goe? Phi. I, good Phan taste: What! haue you chang'd your head-tire? ^5 Pha. Yes faith, th'other was so neere the common: it had no extraordinary grace; besides, I had wome it almost a day, in good troth. Phi. rie bee sworne, this is most excellent for the deuice, and rare. 'Tis after the italian print, we look'd 70 on t'other night. Pha. 'Tis so: By this fanne, I cannot abide any thing [206] that sauours the poore ouer-worne cut, that has any kin- dred with it ; I must haue variety, I : this mixing in fashion I hate it worse, then to burne juniper in my chamber, " I protest. Phi. And yet we cannot haue a new peculiar court- tire, but these retainers will haue it; these Suhurhe- sunday-waiters; these courtiers for high dayes; I know not what I should call 'hem ^° Pha. O, I, they doe most pittifuUy imitate, but I haue a tire a comming (yfaith) shall MoR. In good certaine. Madam, it makes you looke most heauenly; but (lay your hand on your heart) you neuer skin'd a new beautie more prosperously in your life, ^s nor more metaphysically: looke, good lady, sweet lady, looke. 57 i'the Q 64 ha' Q 86 metaphysically] super- naturally Q D2 52 Cynthias Revels [act ii Phi. Tis very cleere, and well, beleeue me. But if you had seene mine yesterday, when t'was yong, you would 9° haue— who's your Doctor, Phantaste? Pha. Nay, that's counsell, Philavtia, you shall pardon mee : yet (I'le assure you) hee's the most daintie, sweet, absolute rare man of the whole colledge. O! his very lookes, his discourse, his behauiour, all hee doo's is 95 physicke, I protest. Piii. For heauens sake, his name; good, deare Phan- taste Pha. No, no, no, no, no, no, (beleeue me) not for a million of heauens : I will not make him cheape. Fie loo Cvp. There is a Nymph too, of a most curious and elaborate straine, light, all motion, an vhiquitarie, shee is euery where, Phantaste Mer. Her very name speakes her, let her passe. But are these (Cvpid) the starres of Cynthias court? doe i°5 these Nymphs attend vpon Diana? Cvp. They are in her court (Mercvrie) but not as starres, these neuer come in the presence of Cynthia. The Nymphs that make her traine, are the diuine Arete, Time, Phronesis, Thavma, and others of that high lio sort. These are priuately brought in by Mori a in this licentious time, against her knowledge : and (like so many meteors) will vanish, when shee appeares. 99 Exeunt. Q [Exeunt Phantaste, Moria, and Philautia. G sc. v] Cynthias Revels 53 Act 1 1 . Scene v. Prosaites, Gelaia, Cos, Mercvrie, Cvpid. Song. COme follow me, my wagges, and say as I say. There's no riches but in ragges; hey day, hey day. You that prof esse this arte, come away, come away. And helpe to beare a part. Hey day; hey day, S-c. Mer. What! those that were our fellow pages but now, [207] so soone preferr'd to be yeomen of the bottles? the mysterie, the mysterie, good wagges? Cvp. Some dyet-drinke, they haue the guard of. Pro. No, sir, we are going in quest of a strange fountayne, lately found out. lo SCENA. 5. Q Act . . . Song.] Enter Prosaites, singing, followed by Gelaia and Cos, with bottles. G Song.] Cant. Q 1 Pro. Q 4 &c'] om. Q [Mercury and Cupid come forward. G Q continues the song: Beare-wards, & Blachingme. Corne-cutters, and Carmen. Sellers of mar-king stones. Gatherer's vp of Marow bones 5 Pedlers, and Puppit-players. Sow-gelders, and Sooth-saiers. Gipsies and laylers. Rat-catchers, and Raylers, Beadles, and Ballad-singers. lo Fidlers, and Fadingers. Thomalins, and Tinkers. Scauengers, and Skinkers. There goes the Hare away. Hey day. Hey day. Bawds and blinde Doctors. Paritors, and spittle Proctors. Chymists, and Cuttlebungs. Hookers, and Horne-thums. With all cast commaunders. turnd Post-knights, or Padars. luglers, and lesters. I Beggars Borrowers of Testers, j rime. And all the troope of trash Thafre allied to the lash. Come, and loyne with your lags Shake vp your muscle-bags. For Beggary beares the sway, Then sing: cast care away, Hey day, hey day. 54 Cynthias Revels [act hi Cvp. By whom? Cos. My master, or the great discouerer, Amorphvs. Mer. Thou hast well intitled him, Cos, for hee will discouer all hee knowes. 15 Gel. I, and a little more too, when the spirit is vpon him. Pro. O, the good trauailing gentleman yonder has caus'd such a drought i'the presence, with reporting the wonders of this new water; that all the ladies, and gall- 2° ants, lie languishing vpon the rushes, like so many pound- ed cattle i' the midst of haruest, sighing one to another, and gasping, as if each of them expected a cocke from the fountayne, to bee brought into his mouth: and (without we returne quickly) they are all (as a youth would say) 25 no better then a few trowts cast a-shore, or a dish of eeles in a sand-bagge. Mer. Well then, you were best dispatch, and haue a care of them. Come, Cvpid, thou and I'le goe peruse this drie wonder. S Act III. Scene i . Amorphvs, Asotvs. Ir, let not this dis-countenance, or dis-gallant you a whit : you must not sinke vnder the first disaster. It is with your young grammaticall courtier, as with your neophyte-\A3.yer , a thing vsuall to bee daunted 5 at the first presence, or enter- view: you saw, there was Hedon, and An aides, (farre more practis'd gallants then your selfe) who were both out, to comfort you. It is no disgrace, no more, then for your aduentrous reueller, to fall by some in-auspicious chance in his Finis Actus Secundi. ACTUS TERTIVS. SCENA 1. Q An Apartment at the Court. O 1 Amor. Q sc. i] Cynthias Revels 55 galliard, or for some subtile politique, to vnder-take the -» bastinado, that the state might thinke worthily of him, and respect him as a man well beaten to the world. What ! hath your taylor prouided the propertie (wee spake of) at your chamber, or no ? A so. I thinke he has. 's A MO. Nay (I intreat you) be not so flat, and melanchol- ique. Erect your mind: you shall redeeme this with the courtship I will teach you against after-noone. Where eate you to day ? A so. Where you please, sir, any where, I. 20 A MO. Come, let vs goe and taste some light dinner, a dish of slic'd cauiare, or so, and after, you shall practise an houre at your lodging, some few formes that I haue recall'd. If you had but so farre gathered your spirits [208] to you, as to haue taken vp a rush (v/hen you were out) -s and wagg'd it thus, or clensd your teeth with it: or but turn'd aside, and fain'd some businesse to whisper with your page, till you had recouer'd your selfe, or but found some slight staine in your stocking, or any other prettie inuention (so it had beene sodaine,) you might haue come 30 off with a most cleere, and courtly grace. A so. A poyson of all, I thinke I was forespoke, I. A MO. No, I must tell you, you are not audacious inough, you must frequent ordinaries, a moneth more, to initiate your selfe: In which time, it will not bee amisse, if (in 33 priuate) you keepe good your acquaintance with C rites, or some other, of his poore coate; visite his lodging se- cretly, and often : become an earnest suter to heare some of his labours. Aso. OIove! sir, I could neuer get him to reade a line 40 to me. 10 Politician Q 24 recall'd] remembred Q 33-77 No . colours:] om. Q 56 Cynthias Revels [act hi A MO. You must then wisely mixe your selfe in ranke, with such, as you know can; and, as your eares doe meet with a new phrase, or an acute jest, take it in: a quicke 45 nimble memory will lift it away, and, at your next publique meale, it is your owne. A so. But I shall neuer vtter it perfectly, sir. A MO. No matter, let it come lame. In ordinary talke you shall play it away, as you doe your light crownes at 50 primero : It will passe. A so. I shall attempt, sir. A MO. Doe. It is your shifting age for wit, and I assure you, men must bee prudent. After this, you may to court, and there fall in, first with the way ting- woman, 55 then with the lady. Put case they doe retaine you there, as a fit property, to hire coaches some paire of months, or so; or to read them asleep in afternoones vpon some pretty pamphlet, to breathe you; why, it shall in time imbolden you to some farther atchivement: In the in- 60 terim, you may fashion your selfe to bee carelesse, and impudent. A so. How if they would haue me to make verses? I heard Hedon spoke to for some. Amo. Why, you must prooue the aptitude of your 65 Genius', if you find none, you must harken out a veine, and buy: prouided you pay for the silence, as for the worke. Then you may securely call it your owne. A so. Yes, and I'le giue out my acquaintance with aU the best writers, to countenance me the more. 70 Amo. Rather seeme not to know 'hem, it is your best. I. Be wise, that you neuer so much as mention the name of one, nor remember it mention'd; but if they be offerd to you in discourse, shake your light head, make betweene a sad and a smiling face, pittie some, raile at all, and 75 commend your selfe : 't is your onely safe, and vnsuspected course. Come, you shall looke back vpon the court againe sc. ii] Cynthias Revels 57 to day, and be restor'd to your colours : I doe now partly aime at the cause of your repulse (which was omenous indeed) for as you enter at the doore, there is oppos'd to you the frame of a woolfe in the hangings, so which (surprizing your eye sodainely) gaue a false alarme [209] to the heart; and that was it call'd your bloud out of your face, and so rowted the whole ranke of your spirits : I beseech you labour to forget it. And remember (as I inculcated to you before, for your comfort) Hedon, and 85 Anaides. H Act III. Scene 1 1 . Hedon, Anaides. Art, was there euer so prosperous an inuention thus vnluckily peruerted, and spoyl'd by a whore-sonne booke-worme, a candle-waster? Ana. Nay, be not impatient, Hedon. Hed. S'light, I would faine know his name. s Ana. Hang him, poore grogran-rascall, pray thee thinke not of him: I'le send for him to my lodging, and haue him blanketted when thou wilt, man. Hed. By gods so; I would thou could 'st. Looke, here hee comes. Laugh at him, laugh at him, ha, ha, ha. Crites Ana. Fough, he smels all lamp-oyle, with studying ^'^^^^ '''' by candle-light. Hed. How confidently he went by vs, and carelesly! neuer moou'd ! nor stirr'd at any thing ! did you obserue him? 15 77 I doe now] No, I do Q 78 of your repulse] om. Q 81 sur- prizing your eye] your eye taking Q 83 rowted] disordred Q 84-6 And . . . Anaides.] om. Q 84 Exeunt. Q SCENA. 2. Q Another Apartment in the same. Enter Hedon and Anaides. G 1 Hed. Q 6 pr'ythee Q 8 ha' Q 10 {margin) Crites . . . by.] Enter Crites, and walks in a musing posture at the hack of the stage. G 58 Cynthias Revels [act hi Ana. I, a poxe on him, let him goe, dormouse: he is m a dreame now. He has no other time to sleepe, but thus, when hee walkes abroad, to take the ayre. Hed. Gods precious, this afflicts mee more then all 2° the rest, that wee should so particularly direct our hate, and contempt against him, and hee to carrie it thus with- out wound, or passion! 'tis insufferable. Ana. S'lid, (my deare enuie) if thou but saist the word now, He vndoe him eternally for thee. 25 Hed. How, sweet An aides? Ana. Mary halfe a score of vs get him in (one night) and make him pawne his wit for a supper. Hed. Away, thou hast such vnseasonable jests. By this heauen, I wonder at nothing more then our gentlemen- 30 vshers, that will suffer a piece of serge, or perpetuana, to come into the presence : mee thinkes they should (out of their experience) better distinguish the silken disposi- tion of courtiers, then to let such terrible coorse ragges mixe with vs, able to fret any smooth or gentile societie 35 to the threeds with their rubbing deuices. Ana. Vnlesse 't were Lent, Ember weekes, or Fasting dayes, when the place is most penuriously emptie of all other good outsides. Dam'mee, if I should aduenture on his companie once more, without a sute of buffe, to \° defend my wit ; he does nothing but stab the slaue : how mischieuously he cross'd thy deuice of the prophesie there ? AndMoRiA, shee comes without her muffe too, and there my inuention was lost. [210] Hed. Well, I am resolu'd what He doe. 45 Ana. What, my good spirituous sparke? Hed. Mary, speake all the venome I can of him; and poyson his reputation in euery place, where I come. Ana. 'Fore god, most courtly. 33 a Courtier Q 34 vs] 'hem 36-8 Vnlesse't . . . out^ sides.] om. Q 40 stab, the slave 1640, W—G sc. Ill] Cynthias Revels 59 H E D. And if I chance to bee present where any question is made of his sufficiencies, or of any thing he hath done 50 priuate, or pubhke, He censure it shghtly, and ridicu- lously. Ana. At any hand beware of that, so thou maist draw thine owne iudgement in suspect. No, He instruct thee what thou shalt doe, and by a safer meanes : Approue any 55 thing thou hearest of his, to the receiu'd opinion of it; but if it bee extraordinarie, giue it from him to some other, whom thou more particularly affect 'st. That's the way to plague him, and he shall neuer come to defend himself e. S'lud, He giue out, all he does is dictated from 60 other men, and sweare it too (if thou'lt ha'mee) and that I know the time, and place where he stole it, though my soule bee guiltie of no such thing ; and that I thinke, out of my heart, hee hates such barren shifts: yet to doe thee a pleasure, and him a disgrace, I'le dam' my selfe, or doe 65 any thing. Hed. Gramercies, my deare deuill: weele put it seri- ously in practice, yfaith. Act III. Scene 1 1 i . Crites. DOe, good detraction, doe, and I the while Shall shake thy spight off with a carelesse smile. Poore pittious gallants ! What leane idle sleights Their thoughts suggest to flatter their staru'd hopes? As if I knew not how to entertaine These straw-deuices : but, of force, must yeeld To the weake stroke of their calumnious tongues. 53 thou maist] you may Q 54 thine] your Q 60 Sblood Q 68 Exeunt Q SCENA. 3. Q Act . . . Ceites.] [Exeunt Hedon and Anaideo. Cri. [coming forward.'] 1 Crit. Q 6o Cynthias Revels [act hi What should I care what euery dor doth buzze In credulous eares? it is a crowne to me, ^° That the best iudgements can report me wrong'd; Them lyars; and their slanders impudent. Perhaps (vpon the rumour of their speeches) Some grieued friend will whisper to me, C rites, Men speake ill of thee; so they be ill men, 15 If they spake worse, 'twere better: for of such To be disprais'd, is the most perfect praise. What can his censure hurt me, whom the world Hath censur'd vile before me? If good Chrestvs, EvTHVS, or Phronimvs, had spoke the words, 20 They would haue moou'd me, and I should haue call'd [211] My thoughts, and actions, to a strict accompt Vpon the hearing: But when I remember, 'Tis Hedon, and An aides: alasse, then, I thinke but what they are, and am not stirr'd. 25 The one, a light voluptuous reueller, The other a strange arrogating puffe, Both impudent, and ignorant inough; That talke (as they are wont) not as I merit: Traduce by custome, as most dogges doe barke, 30 Doe nothing out of judgement, but disease, Speake ill, because they neuer could speake well. And who'ld be angry with this race of creatures ? What wise physician haue we euer seene Moou'd with a frantike man ? the same affects 35 That he doth beare to his sicke patient. Should a right minde carrie to such as these: And I doe count it a most rare reuenge. That I can thus (with such a sweet neglect) Plucke from them all the pleasure of their malice. 40 For that's the marke of all their inginous drifts, 8 What] Why Q 13 to me, Crites] Criticus Q sc. iiii] Cynthias Revels 6i To wound my patience, howsoe're they seeme To aime at other obiects: which if miss'd, Their enui's hke an arrow, shot vpright, That, in the fall, indangers their owne heads. Act III. Scene 1 1 1 1 . Arete, Crites. T 7\ ^Hat, Crites! where haue you drawne forth the V V day? You haue not visited your jealous friends? Cri. Where I haue scene (most honour'd Arete,) The strangest pageant, fashion 'd like a court, (At least I dream't I saw it) so diffus'd, s So painted, pyed, and full of rainbow straines, As neuer yet (eyther by time, or place) Was made the food to my distasted sence: Nor can my weake imperfect memorie Now render halfe the formes vnto my tongue, lo That were conuolu'd within this thriftie roome. Here, stalkes me by a proud, and spangled sir, That lookes three hand-fuls higher then his fore-top; Sauours himselfe alone, is onely kind And louing to himselfe: one that will speake 15 More darke, and doubtfull then six oracles; Salutes a friend, as if he had a stitch, Is his owne chronicle, and scarce can eat [212] For registring himselfe: is waited on By mimiques, jesters, pandars, parasites, 20 And other such like prodigies of men. He past, appeares some mincing marmoset SCENA. 4.Q Act. . . Crites.] Enter Arete. G 1 Aret. Q drawne forth] spent Q 22-41 appeares . . . mouthes] om. Q 62 Cynthias Revels [act hi Made all of clothes, and face; his limbes so set As if they had some voluntarie act 25 Without mans motion, and must mooue iust so In spite of their creation: one that weighes His breath betweene his teeth, and dares not smile Beyond a point, for feare t'vnstarch his looke; Hath trauell'd to make legs, and scene the cringe 30 Of seuerall courts, and courtiers; knowes the time Of giuing titles, and of taking wals; Hath read court-common-places; made them his: Studied the grammar of state, and all the rules Each formall vsher in that politike schoole, 35 Can teach a man. A third comes giuing nods To his repenting creditors, protests To weeping sutors, takes the comming gold Of insolent, and base ambition, That hourely rubs his dry, and itchie palmes: 40 Which grip't, like burning coales, he hurles away Into the laps of bawdes, and buffons mouthes. With him there meets some subtle Protevs, one Can change, and varie with all formes he sees; Be any thing but honest; serues the time; 45 Houers betwixt two factions, and explores The drifts of both; which (with crosse face) he beares To the diuided heads, and is receiu'd With mutuall grace of eyther: one that dares Doe deeds worthie the hurdle, or the wheele, so To be thought some bodie ; and is (in sooth) Such as the Satyrist points truly forth, That onely to his crimes owes all his worth. Are. You tell vs wonders, Crites. Cri. This is nothing. 42 With him there meets] there comes Q 52 That . . . worth] Criminihus debent hortos, prcetoria, mensas Q 53 This] Tut, this Q sc. iiii] Cynthias Revels 63 There stands a Neophyte glazing of his face. Pruning his clothes, perfuming of his haire, ss Against his idoll enters; and repeates (Like an vnperfect prologue, at third musike) His part of speeches, and confederate iests, In passion to himselfe. Another sweares His Scene of courtship ouer; bids, beleeue him, ^° Twentie times, ere they will; anon, doth seeme As he would kisse away his hand in kindnesse; [^^^1 Then walkes of melancholike, and stands wreath'd. As he were pinn'd vp to the arras, thus. A third is most in action, swimmes, and friskes, 65 Playes with his mistresse pappes, salutes her pumps, Adores her hems, her skirts, her knots, her curies. Will spend his patrimonie for a garter. Or the least feather in her bounteous fanne. A fourth, he onely comes in for a mute: 70 Diuides the act with a dumbe shew, and exit. Then must the ladies laugh, straight comes their Scene, A sixt times worse confusion then the rest. Where you shall heare one talke of this mans eye'. Another, of his lip; a third, his nose; 75 A fourth commend his legge; a fift his foot; A sixt his hand; and euery one a limme: That you would thinke the poore distorted gallant Must there expire. Then fall they in discourse Of tires, and fashions, how they must take place, so Where they may kisse, and whom, when to sit downe, And with what grace to rise; if they salute, What curt'sie they must vse: such cob-web stuffe. As would enforce the common'st sense abhorre Th' Arachnean workers. 55 om. Q 60-1 bids . . . seeme] and then seemes Q 63-4 om. Q 67 om. Q 64 Cynthias Revels [act III 85 Are. Patience, gentle C rites. This knot of spiders will be soone dissolu'd. And all their webs swept out of Cynthias court, When once her glorious deitie appeares, And but presents it selfe in her full light: 90 Till when, goe in, and spend your houres with vs Your honour 'd friends, Time, and Phronesis, In contemplation of our goddesse name. Thinke on some sweet, and choice inuention, now, Worthie her serious, and illustrous eyes, 95 That from the merit of it we may take Desir'd occasion to preferre your worth. And make your seruice knowne to Cynthia. It is the pride of Arete to grace Her studious louers; and (in scorne of time, i°° Enuie, and ignorance) to lift their state Aboue a vulgar height. True happinesse Consists not in the multitude of friends. But m the worth, and choice. Nor would I haue Vertue a popular regard pursue: 105 Let them be good that loue me, though but few. [214] Cri. I kisse thy hands, diuinest Arete, And vow my selfe to thee, and Cynthia. Act III. Scene v. Amorphvs, Asotvs. A Little more forward : So, sir. Now goe in, dis-cloke your selfe, and come forth. Taylor, bestow thy absence vpon vs; and bee not prodigall of this secret, 85 gentle Crites] Criticus Q 107 Exeunt. Q SCENA 5. Q Another Apartment in the same. Enter Amorphds, followed by Asotds and his Tailor. G 1 Amo. Q 2 forth. [ExitAsotus. G sc. v] Cynthias Revels 65 but to a deare customer, 'Tis well enterd, sir. Stay, you come on too fast ; your pase is too impetuous. Imag- s ine this to be the palace of your pleasure, or place, where your lady is pleas'd to bee scene. First, you present your selfe, thus : and spying her, you fall off, and walke some two turnes; in which time, it is to bee suppos'd, your passion hath sufficiently whited your face : then (stifling ^° a sigh or two, and closing your lips) with a trembling boldnesse, and bold terrour, you aduance your selfe for- ward. Proue thus much, I pray you. A so. Yes, sir, (pray Iove I can light on it). Here, I come in, you say, and present my selfe? 15 Amo. Good. A so. And then I spie her, and walke off? Amo. Very good. A so. Now, sir, I stifle, and aduance forward? Amo. Trembling. ^o A so. Yes, sir, trembling: I shall doe it better when I come to it. And what must I speake now? Amo. Mary, you shall say: Deare beautie, or, sweet honour (or by what other title you please to remember her) me thinkes you are melancholy. This is, if shee be alone 25 now, and discompanied. A so. Well, sir. He enter againe; her title shall be. My deare Lindabrides. Amo. Lindabrides? A so. I, sir, the Emperour Alicandroes daughter, 30 and the Prince Meridians sister (in the Knight of the Sunne) shee should haue beene married to him, but that the Princesse Claridiana Amo. O, you betray your reading. A so. Nay, sir, I haue read historic, I am a little 35 humanitian. Interrupt me not, good sir. My deare 4 customer. [^Exit Tailor. Re-enter Asotus. O 13 Proue] Try Q 14 Iove] god Q E 66 Cynthias Revels [act hi LiNDABRiDES, My dearc Lindabrides, My deare LiNDABRiDES, me thinkes you are melancholy. A MO. I, and take her by the rosie-finger'd hand. 40 Aso. Must I so? O, my deare Lindabrides, mee thinkes you are melancholy. A MO. Or thus, sir. All varietie of diuine pleasures, choice sports, sweet musique, rich fare, braue attire, soft beds, and silken thoughts attend this deare beautie. [215] Aso. Beleeue mee, that's pretty. All varietie of diuine pleasures, choice sports, sweet musique, rich fare, braue attires, soft beds, and silken thoughts, attend this deare beautie. A MO. And then, offring to kisse her hand, if shee shall 50 coily recoile, and signifie your repulse; you are to re- enforce your selfe, with. More then most faire ladie, let not the rigour of your iust disdaine thus coursly censure of your seruants zeale: and, withall, protest her, to be the onely, and absolute vnparalell'd creature you do adore, 55 and admire, and respect, and reuerence, in this court, comer of the world, or kingdome. Aso. This is hard, by my faith. I'le begin it all, againe. A MO. Doe so, and I will act it for your ladie. Aso. Will you vouchsafe, sir? All varietie of diuine 60 pleasures, choice sports, sweet musique, rich fare, braue attire, soft beds, and silken thoughts attend this deare beautie. A MO. So, sir, pray you away. Aso. More then most faire ladie, let not the rigour of 65 your lust disdaine, thus coursly censure of your seruants zeale, I protest, you are the onely, and absolute, vnappar- eUed A MO. Vnparalelld. Aso. Vnparalelld creature, I doe adore, and admire, 43 Attires Q sc. v] Cynthias Revels 67 and respect, and reuerence, in this court, corner of the 70 world, or kingdome. A MO. This is, if shee abide you. But now, put case shee should bee passant when you enter, as thus: you are to frame your gate thereafter, and call vpon her, Ladie, Nymph, Sweet refuge, Starre of our court. Then if shee 75 beguardant, here : you are to come on, and (laterally dispos- ing your selfe) sweare, by her blushing and well coloured cheeke, the bright die of her haire, her iuorie teeth (though they be ebonie) or some such white, and innocent oth, to induce you. If reguardant, then maintaine your so station, briske, and irpe, shew the supple motion of your pliant bodie, but (in chiefe) of your knee, and hand, which cannot but arride her proud humour exceedingly. A so. I conceiue you, sir, I shall performe all these things in good time, I doubt not, they doe so hit me. ss A MO. Well, sir, I am your ladie; make vse of any of these beginnings, or some other out of your owne inuen- tion: and proue, how you can hold vp, and follow it. Say, say. Aso. Yes, sir, my deare Lindabrides. 9° A MO. No, you affect that Lindabrides too much. And (let mee tell you) it is not so courtly. Your pedant should prouide you some parcells of french, or some pretty commoditie of Italian to commence with, if you would be exoticke, and exquisite. 95 Aso. Yes, sir, he was at my lodging t'other morning, I gaue him a doublet. Amo. Double your beneuolence, and giue him the hose too, clothe you his bodie, he will helpe to apparell your mind. But now, see what your proper Genivs can per- [216] forme alone, without adiection of any other Minerva. Aso. I comprehend you, sir. 79 (though . . . ebonie)] om. Q E2 68 Cynthias Revels [act hi A M o. I doe stand you, sir : fall backe to your first place. Good, passing well: Very properly pursude. A so. Beautifull, ambiguous, and sufficient ladie, what ! are you all alone? A MO. We would be, sir, if you would leaue vs. A so. I am at your beauties appointment, bright angell; but no Amo. What but? A so. No harme, more then most faire feature. Amo. That touch relished well. A so. But, I protest Amo. And why should you protest? 115 A so. For good will (deare esteem 'd Madam) and I hope, your ladiship will so conceiue of it: And will, in time, returne from your disdaine, And rue the suff ranee of our friendly paine. Amo. O, that peece was excellent! if you could picke "o out more of these play-particles, and (as occasion shall salute you) embroider, or damaske your discourse with them, perswade your soule, it would most iudiciously commend you. Come, this was a well discharg'd, and auspicious bout. Proue the second. 125 A so. Ladie, I cannot ruffle it in red and yellow. Amo. Why, if you can reuell it in white, sir, 'tis suffi- cient. A so. Say you so, sweet ladie? Lan, tede, de, de, de, dant, dant, dant, dattte, S-c. No (in good faith) Madame, 130 whosoeuer told your ladiship so, abusde you; but I would be glad to meet your ladiship in a measure. Amo. Me, sir? belike you measure me by your selfe, then ? 117-8 And . . . paine.] If euer you haue seene great TAMBERLAINE. Q 119 peece] Blanke Q 122 most] om. Q 125 ruffle] swagger Q red] Black Q 128 de] om. Q 129 &. [Sings and dances.] G sc. v] Cynthias Revels 69 A so. Would I might, faire feature. Amo. And what were you the better, if you might? 'ss A so. The better it please you to aske, faire ladie. Amo. Why, this was rauishing, and most acutely con- tinu'd. Well, spend not your humour too much, you haue now competently exercised your conceit : This (once or twice a day) will render you an accomplisht, elaborate, 140 and well leuelled gallant. Conuey in your courting-stock, wee will (in the heat of this) goe visit the Nymphs chamber. Act 1 1 1 1 . Scene i . Phantaste, Philavtia, Argvrion, Moria, CVPID. I Would this water would ariue once, our trauailing friend so commended to vs. Arg. So would I, for hee has left all vs in trauaile with expectation of it. Pha. Pray Iove, I neuer rise from this couch, if euer [217] I thirsted more for a thing, in my whole time of being a courtier. Phi. Nor I, Tie be swome: The very mention of it sets my lips in a worse heate, then if hee had sprinkled them with mercufie. Reach mee the glasse, sirrah. 10 Cvp. Here, ladie. Mor. They doe not peele, sweet Charge, doe they? Phi. Yes, a little. Guardian. Mor. O, 'tis an eminent good signe. Euer when my lips doe so, I am sure to haue some delicious good drinke, 15 or other approching. 141 gallant] Gentleman Q Finis Actus tertij. Q ACTVS QUARTVS. SCENA. 1. Q An Apartment in the Palace. Enter, etc. G 1 Phan. Q 14 an] a Q yo Cynthias Revels [act iiii Arc. Mary, and this may be good for vs ladies: for (it seemes) tis far-fet by their stay. MoR. My palate for yours (deare Honor) it shall proue 2° most elegant, I warrant you : O, I doe fancy this geare that's long a comming, with an vnmeasurable straine. Pha. Pray thee sit downe, Philavtia, that rebatu becomes thee singularly. Phi. Is't not queint? 25 Pha. Yes faith. Me thinkes, thy seruant He don is nothing so obsequious to thee, as he was wont to be: I know not how, hee's growne out of his garbe a-late, hee's warpt. MoR. In trewnesse, and so me thinkes too; he's much 30 conuerted. Phi. Tut, let him bee what hee will, 'tis an animall I dreame not of. This tire (me thinkes) makes me looke very ingeniously, quick, and spirited, I should be some Lavra, or some Delia, me thinkes. 35 M OR. As I am wise (faire Honors) that title shee gaue him, to bee her Ambition, spoild him: Before, hee was the most propitious, and obseruant young nouice Pha. No, no, you are the whole heauen awry. Guardian : 'tis the swaggering coach-horse Anaides, drawes with 40 him there, has beene the diuerter of him. Phi. For Cvpids sake, speake no more of him; would I might neuer dare to looke in a mirror againe, if I respect ere a marmaset of 'hem al, otherwise, then I would a feather, or my shittle-cock, to make sport with, 45 now and then. Pha. Come, sit downe; troth (and you be good Beauties) let's runne ouer 'hem all now: Which is the properst man amongst them? I say, the trauailer, Amorphvs. 33 Ingenuously Q 39 tilt-horse Q 43 'hem] them Q sc. i] Cynthias Revels 71 Phi. O, fie on him, he lookes Hke a Venetian trumpetter, 50 i' the battaile of Lepanto, in the gallerie yonder; and speakes to the tune of a countrey ladie, that comes euer i' the rereward, or traine of a fashion. MoR. I should haue iudgement in a feature, sweet Beauties. 55 Pha. a bodie would thinke so, at these yeeres. MoR. And I preferre another now, far before him, a million at least. Pha. Who might that be. Guardian} MoR. Mary (faire Charge) An aides. [218] Pha. Anaides! you talk't of a tune Philavtia, there's one speakes in a key: like the opening of some Justices gate, or a poste-boies home, as if his voice fear'd an arrest for some ill wordes it should giue, and were loth to come forth. 65 Phi. I, and he has a very imperfect face. Pha. Like a sea-monster, that were to rauish An- dromeda from the rocke. Phi. His hand's too great too, by at least a strawes breadth. i° Pha. Nay, he has a worse fault then that, too. Phi. a long heele? Pha. That were a fault in a ladie, rather then him: No, they say, hee puts off the calues of his legs, with his stockings, euery night. 75 Phi. Out vpon him: turne to another of the pictures, for loues sake. What sales Argvrion? whom doo's shee commend, afore the rest ? Cvp. I hope, I haue instructed her sufficiently for an answere. so MoR. Troth, I made the motion to her ladiship for 50 Venetian] Dutch Q 67-8 sea-monster . . . rocke.] squeez'd Orenge, sower, sower. Q 77 loues] Gods Q 80 [Aside. G 72 Cynthias Revels [act iiil one to day, i' the presence, but it appear'd shee was other-waies furnisht before: Shee would none. Pha. Who was that, Argvrion? 85 MoR. Mary, the poore plaine gentleman, i' the blacke, there. Pha. Who, Crites? Arc. I, I, he. A fellow, that no body so much as lookt vpon, or regarded, and shee would haue had me done him 90 particular grace. Pha. That was a true tncke of your selfe, Mori a, to perswade Argvrion, to affect the scholer. Arc. Tut, but shee shall be no chuser for me. In good faith, 1 like the citizens sonne there, Asoxvs , mee thinkes, 95 none of them all come neere him. Pha. Not, Hedon? Arg. Hedon, in troth no. Hedon's a pretty slight courtier, and he weares his clothes well, and sometimes in fashion; Mary, his face is but indifferent, and he has 100 no such excellent body. No, th'other is a most delicate youth, a sweet face, a streight body, a well proportion 'd legge and foot, a white hand, a tender voice. Phi. How now, Argvrion? Pha. O, you should haue let her alone, shee was 105 bestowing a copy of him vpon vs. Such a nose were inough to make me loue a man, now. Phi. And then his seuerall colours he weares; wherein he flourisheth changeably, euery day. Pha. O, but his short haire, and his narrow eyes! "o Phi. Why, shee dotes more palpably vpon him, then ere his father did vpon her. Pha. Beleeue mee, the young gentleman deserues it. If shee could dote more, 'twere not amisse. Hee is an 85 Kttle, poore Q 92 to] om. Q 105-9 Such . . . eyes!] om. Q sc. i] Cynthias Revels 73 exceeding proper youth, and would haue made a most [2i9] neate barber-surgeon, if hee had beene put to it in time, ^'s Phi. Say you so ? me thinkes, he lookes hke a taylour alreadie. Pha. I, that had sayed on one of his customers sutes. His face is Hke a squeezed orange, or— Arg. Well, ladies, jest on: the best of you both would ^^° be glad of such a seruant. MoR. I, I'le be sworne would they, though hee be a little shame-fac'd. Pha. Shame-fac'd, Mori a! out vpon him. Your shame-fac'd seruant is your onely gull. "s MoR. Goe to, Beauties, make much of time, and place, and occasion, and opportunitie, and fauourites, and things that belong to 'hem, for I'le ensure you, they will all relinquish; they cannot indure aboue another yeere; I know it out of future experience : and therefore take ^30 exhibition, and warning. I was once a reueller my selfe, and though I speak it (as mine owne trumpet) I was then esteem'd Phi. The very march-pane of the court, I warrant you ? Pha. And all the gallants came about you like flyes, 135 did they not ? M o R, Goe to, they did somewhat, that's no matter now. Pha. Nay, good Mori a, be not angrie. Put case, that wee foure now had the grant from Ivno, to wish our selues into what happie estate wee could ? what would 140 you wish to be, Moria? MoR. Who I ? Let me see now. I would wish to be a wisewoman, and know all the secrets of court, citie, and countrie. Iwould know what were done behind the arras, what vpon the staires, what i' the garden, what i' the 145 119 His . . . or —] om. Q 122-6 though . . . Mor.] ow. Q 128 'hem] them Q 134 you] om. Q 138-218 om. Q 74 Cynthias Revels [act iiii Nymphs chamber, what by barge, & what by coach. I would tel you which courtier were scabbed, and which not; which ladie had her owne face to lie with her a-nights, & which not; who put off their teeth with their clothes 150 in court, who their haire, who their complexion ; and in which boxe they put it. There should not a Nymph, or a widdow be got with childe i' the verge, but I would guesse (within one or two,) who was the right father: and in what moneth it was gotten ; with what words ; and 155 which way. I would tell you, which Madame lou'd a Monsieur, which a player, which a page; who slept with her husband, who with her friend, who with her gentle- man-vsher, who with her horse-keeper, who with her monkie, and who with all. Yes, and who jigg'd the 160 cocke too. Pha. Fye, you'ld tell all, Mori a. It I should wish now, it should bee to haue your tongue out. But what sayes Philavtia? who would she be? Phi. Troth, the verie same I am. Onely I would wish 165 my selfe a little more command, and soueraignetie ; that all the court were subiect to my absolute becke, and all things in it depending on my looke; as if there were no other heauen, but in my smile, nor other hell, but in my frowne; that I might send for any man I list, and haue his 170 head cut off, when I haue done with him ; or made an [220j eunuch, if he denyed mee : and if I saw a better face then mine owne, I might haue my doctor to poyson it. What would you wish, Phantaste? Pha. Faith, I cannot (readily) tell you what: But (mee 175 thinkes) I should wish my selfe all manner of creatures. Now, I would bee an empresse ; and by and by a dutchesse ; then a great ladie of state; then one of your miscelany madams; then a waiting-woman; then your cittizens wife ; then a course countrey gentlewoman ; then a deyrie 180 maide; then a shepheards lasse; then an empresse againe, sc. i] Cynthias Revels 75 or the queene of fayries: And thus I would prooue the vicissitudes, and whirle of pleasures, about, and againe. As I were a shepheardesse, I would bee pip'd and sung too; as a deyrie wench, I would dance at way-poles, and make sillabubbes; As a countrey gentlewoman, keep a '85 good house, and come vp to terme, to see motions; As a cittizens wife, bee troubled with a iealous husband, and put to my shifts; (others miseries should bee my pleasures) As a waiting-woman, I would taste my ladies delights to her; As a miscellany madame inuent new tyres, and goe 190 visite courtiers; As a great ladie, lye a bed, and haue courtiers visite mee; As a dutchesse, I would keepe my state : and as an empresse, I'M doe any thing. And, in all these shapes, I would euer bee foUow'd with th'affections of all that see mee. Mary, I my selfe would affect none; 195 or if I did, it should not bee heartily, but so as I might saue my selfe in 'hem still, and take pride in tormenting the poore wretches. Or, (now I thinke on't) I would, for one yeere, wish my selfe one woman, but the richest, fairest, and delicatest in a kingdome, the very center of 2°° wealth, and beautie, wherein all lines of loue should meet ; and in that person I would prooue all manner of suters, of all humours, and of all complexions, and neuer haue any two of a sort : I would see how Loue (by the power of his object) could worke inwardly alike, in a cholericke man, ^05 and a sanguine; in a melancholique, and a phlegmatique ; in a foole, and a wise man; in a clowne, and a courtier; in a valiant man, and a coward: and how he could varie outward, by letting this gallant expresse himselfe in dumbe gaze; another with sighing, and rubbing his fin- 210 gers; a third, with play-ends, and pittifuU verses; a fourth, with stabbing himselfe, and drinking healths, or writing languishing letters in his bloud; a fifth, in colour'd rib- bands, and good clothes; with this lord to smile, and that lord to court, and the t'other lord to dote, and one lord 215 76 Cynthias Revels [act iiii to hang himselfe. And then, I to haue a booke made of all this, which I would call the booke of humours, and euery night reade a little piece, ere I slept, and laugh at it. Here comes Hedon. [221] Act IIII. Scene 1 1. Hedon, Anaides, Mercvrie, Phantaste, Phi- LAVTIA, MORIA, ARGVRION, CvPID. SAue you, sweet and cleere beauties : By the spirit that moues in me, you are all most pleasingly bestow'd, ladies. Onely, I can take it for no good omen, to find mine Honor so deiected. 5 Phi. You need not feare, sir, I did of purpose humble my selfe against your comming, to decline the pride of my ambition. Hed. Faire Honor, Ambition dares not stoope; but if it be your sweet pleasure, I shall lose that title, I will (as 10 I am Hedon) apply my selfe to your bounties. Phi. That were the next way to distitle my selfe of honor. O, no, rather be still ambitious, I pray you. Hed. I will be any thing that you please, whilst it pleaseth you to bee your selfe, ladie. Sweet Phantaste, 15 deare Moria, most beautifuU Argvrion Ana. Farewell, Hedon. Hed. Anaides, stay, whither goe you? Ana. S'light, what should I doe here? and you engrosse 'hem all for your owne vse, 'tis time for me to 20 seeke out. Hed. I, engrosse 'hem? Away, mischief e, this is one 8CENA. 2. Q Act . . . Cvpid.] Enter Hedon, Anaides, and Mercury, who retires with Cupid to the hack of the stage, where they converse together. G 1 Hed. Q sc. ii] Cynthias Revels 77 of your extrauagant iests now, because I began to salute 'hem by their names Ana. Faith, you might haue sparde vs Madame Pru- dence, the Guardian there, though you had more couetous- ^5 ly aym'd at the rest. Hed. S'heart, take 'hem all, man: what speake you to me of ayming, or couetous? Ana. I, say you so? nay, then, haue at 'hem: ladies, here's one hath distinguish'd you by your names alreadie. 30 It shall onely become me, to aske, How you doe ? Hed. Gods so, was this the designe you trauaill'd with ? Ph A. Who answeres the brazen head ? it spoke to some bodie. Ana. Lady Wisedome, doe you interpret for these 35 puppets ? MoR. In truth, and sadnesse [Honors) you are in great offence for this, goe too: the gentleman (I'le vnder- take with him) is a man of faire lining, and able to main- taine a ladie in her two carroches a day, besides pages, 40 munkeys, and parachitos, with such attendants as shee shall thinke meet for her turne, and therefore there is more respect requirable, howsoere you seeme to conniue. Harke you, sir, let mee discourse a sillable with you. I am to say to you, these ladies are not of that close, and open 45 behauiour, as happily you may suspend; their carriage is well knowne, to be such as it should be, both gentle and extraordinarie. Mer. O, here comes the other paire. 33 Brazen head Q 40 carroches] Coaches Q, coaches G 78 Cynthias Revels [act iiii [222] Act IIII. Scene 1 1 1 . Amorphvs,Asotvs,Hedon, An AIDES, Merc VRiE, CvpiD, Phantaste, Philavtia, Argvrion, MORIA. THat was your fathers loue, the Nymph Argvrion. I would haue you direct all your courtship thither, if you could but endeare your selfe to her affection, you were eternally en-gallanted. 5 A so. In truth, sir? pray Phcebvs I proue fauour- some in her faire eyes. A MO. All diuine mixture, and increase of beautie to this bright beuy of ladies; and to the male-courtiers, complement, and courtesie. 1° Hed. In the behalf e of the males, I gratifie you, Amor- PHVS. Pha. And I, of the females. A MO, Succinctly return'd. I doe vale to both your thankes, and kisse them: but primarily to yours, most '5 ingenious, acute, and polite ladie. Phi. Gods my life, how hee doe's all to bee qualifie her ! ingenious, acute, and polite? as if there were not others in place as ingenious, acute, and polite, as shee. Hed. Yes, but you must know, ladie, hee cannot 2° speake out of a dictionarie method. Pha. Sit downe, sweet Amorphvs: When will this water come, thinke you? A MO. It cannot now be long, faire ladie. Cvp. Now obserue, Mercvry. 25 A s o. How ? most ambiguous beautie ? loue you ? that I will by this hand-kercher. Mer. S'lid, he drawes his othes out of his pocket. SCENA. 3. Q Act . . . Moria.] Enter Amorphos and AsoTOS. 6 1 Amor. Q 13 return'd] spoken Q sc. Ill] Cynthias Revels 79 Arc. But, will you be constant? A so. Constant, Madam? I will not say for constant- nesse, but by this purse (which I would be loth to sweare 30 by, vnlesse 'twere embroider'd) I protest (more then most faire ladie) you are the onely, absolute, and vnparalelld creature, I doe adore, and admire, and respect, and reuer- ence in this court, comer of the world, or kingdome: Mee thinkes you are melancholy. as Arg. Do's your heart speake all this? A so. Say you? Mer. O, he is groping for another oth. A so. Now, by this watch (I marie how forward the day is) I doe vnfeignedly vow my selfe (s'light 'tis deeper 40 then I tooke it, past fine) yours entirely addicted, Madame. Arg. I require no more, dearest Asoxvs, hence-forth let mee call you mine, and in remembrance of me, vouch- safe to weare this chaine, and this diamond. A so. O god, sweet ladie! |223] Cvp. There are new othes for him: what? doth Her- mes taste no alteration, in all this? Mer. Yes, thou hast strooke Argvrion inamour'd on AsoTVS, me thinkes. Cvp. Alas, no; I am no-body, I: I can doe nothing in 50 this disguise. Mer. But thou hast not wounded any of the rest, CVPID? Cvp. Not yet: it is enough that I haue begun so pros- perously. 55 Arg. Nay, these are nothing to the gems I will hourely bestow vpon thee : be but faithfull, and kind to me, and I will lade thee with my richest bounties : behold, here my bracelets, from mine armes, A so. Not so, good ladie. By this diamond. 60 56 Nay] Tut Q 8o Cynthias Revels [act iiii Arc. Take 'hem, weare 'hem: my iewels, chaine of pearle, pendants, all I haue. A so. Nay then, by this pearle, you make me a wanton. Cvp. Shall not shee answere for this, to maintayne him 65 thus in swearing ? Mer. O, no, there is a way to weane him from this, the gentleman may be reclaim'd. Cvp. I, if you had the ayring of his apparell, couss', I thinke. 70 A so. Louing? 'twere pitty I should be lining else, beleeue me. Saue you, sir. Saue you, sweet ladie. Saue you, Monsieur An aides. Saue you, deare Madame. Ana. Do'st thou know him that saluted thee, Hedon ? Hed. No, some idle Fvngoso, that hath got aboue 75 the cup-board, since yesterday. Ana. S'lud, I neuer saw him till this morning, and he salutes me as familiarly, as if we had knowne together, since the deluge, or the first yeere of Troy-dLCiion. A MO. A most right-handed, and auspicious encounter. 80 Confine your selfe to your fortunes. Phi. For sports sake, let's haue some riddles, or pur- poses; hough. Pha. No faith, your prophecies are best, the t'other are stale. 85 Phi. Prophecies? we cannot all sit in at them; wee shall make a confusion. No; what calld you that we had in the fore-noone? Pha. Suhstantiues , and Adiectiues. 1st not Hedon? Phi. I, that, who begins? 90 Pha. I haue thought; speake your Adiectiiies, sirs. Phi. But doe not you change, then? 74-5 that . . . yesterday.] I warrant you. Q 76 'Sbloud Q 78 deluge . . . Troy -Suction.l first yeare of the siege of Troy. Q 81 sports] gods Q 82 hough.] ho! G sc. Ill] Cynthias Revels 8i Pha. Not I, who sales? MoR. Odoriferous. Phi. Popular. Arc. Humble. 95 Ana. White-liuer'd. Hed. Barbarous. A MO. Pythagoricall. [224] Hed. Yours, Signior. A so. What must I doe, sir? 100 A MO. Giue forth your Adiectiue, with the rest; as, prosperous, good, faire, sweet, well Hed. Any thing, that hath not beene spoken. A so. Yes, sir: well-spoken, shall be mine. Pha. What? ha' you all done? los All. I. Pha. Then the Sw^sifaw/z we is Breeches. Why odorif- erous Breeches, Guardian ? MoR. Odoriferous, because odoriferous; that which containes most varietie of sauour, and smell, we say is "o most odoriferous: now. Breeches I presume are incident to that varietie, and therefore odoriferous Breeches. Pha. Well, we must take it howsoeuer, who's next? Philavtia. Phi. Popular. us Pha. Why popular Breeches? Phi. Mary, that is, when they are not content to be generally noted in court, but will presse forth on common stages, and brokers stalls, to the publique view of the world. 120 Pha. Good: why humble Breeches? Argvrion. Arc. Humble, because they vse to be sate vpon; besides, if you tie 'hem not vp, their propertie is to fall downe about your heeles. 106 All.] Omnes. Q 82 Cynthias Revels [act iiii "5 Mer. Shee has worne the breeches, it seemes, which haue done so. Pha. But why white-huer'd ? Ana. Why ? 'shart, are not their Hnings white ? besides, when they come in swaggering companie, and will pocket 130 vp any thing, may they not properly be said to be white- liuer'd ? Pha. O, yes, wee must not denie it. And why barba- rous, He DON? Hed. Barbarous, because commonly, when you haue 135 worne your breeches sufficiently, you giue them to your Barber. A MO. That's good: but now Pythagoricall? Pha. I, Amorphvs. Why Pythagoricall Breeches? A MO. O, most kindly of all, 'tis a conceit of that for- 140 tune, I am bold to hug my braine for. Pha. How ist, exquisite Amorphvs? A MO. O, I am rapt with it, 'tis so fit, so proper, so happy Phi. Nay, doe not racke vs thus? 145 A MO. I neuer truly relisht my selfe, before. Giue me your eares. Breeches Pythagoricall, by reason of their transmigration, into seuerall shapes. MoR. Most rare, m sweet troth. Mary, this young gentleman, for his well-spoken ^50 Pha. I, why well-spoken Breeches? [225] A so. Well-spoken ? mary well-spoken, because — what- soeuer they speake, is well taken; and whatsoeuer is well taken, is well-spoken. MoR. Excellent! beleeue me. 155 A so. Not so, ladies, neither. Hed. But why Breeches, now? 132 must not] cannot Q 137 now] how 1692-G sc. Ill] Cynthias Revels 83 Pha. Breeches, quasi beare-riches ; when a gallant beares all his riches in his breeches: A MO. Most fortunately etymology z'd. Pha. Nay, we haue another sport afore this, of A thing ^^o done, and, Who did it, &c. Phi. I, good Phantaste, let's haue that: Distribute the places. Pha. Why, I imagine, A thing done] Hedon thinkes, Who did it; Moria, With what it was done; Anaides, 165 Where it was done; Argvrion, When it was done; Amorphvs, For what cause it was done; you Philav- Ti A , What followed vpon the doing of it ; and this gentleman, Who would haue done it better. What ? is't conceiu'd about ? 170 All. Yes, yes. Pha. Then speake you, sir. Who would hatie done it better ? A so. How! do's it beginne at me. Pha. Yes, sir: This play is cal'd the Crab, it goes 175 backward. A so. May I not name my selfe? Pha. If you please, sir, and dare abide the venture of it. A so. Then, I would haue done it better, what euer it is. Pha. No doubt on't, sir: a good confidence. What -^^o followed vpon the act, Philavtia? Phi. a few heate drops, and a moneths mirth. Pha. For what cause, Amorphvs? Amo. For the delight of ladies. Pha. When, Argvrion? 185 Arg. Last progresse. Pha. Where, Anaides? Ana. Why, in a paire of pain'd slops. Pha. With what, Moria? 159-203 om. Q ¥2 84 Cynthias Revels [act iiii 190 MoR. With a glyster. Pha. Who, Hedon? Hed. a trauailer. Pha. Then, The thing done was, An oration was made. Rehearse. An oration was made. 195 Hed. By a trauailer. MoR. With a glyster. Ana. In a paire of pain'd slops. Arg. Last progresse. Amo. For the delight of ladies. 20° Phi. a few heat drops, and a moneths mirth followed. Pha. And, this silent gentleman would haue done it better. [226] A so. This was not so good, now. Phi. In good faith, these vnhappie pages would be 2°5 whipt, for staying thus. MoR. Beshrew my hand, and my heart, else. Amo. I doe wonder at their protraction! Ana. Pray V e n v s , my whore haue not discouer 'd her selfe to the rascally boyes, and that be the cause of 210 their stay. A so. I must sute my selfe with another page: this idle Prosaites will neuer be brought to wait well. MoR. Sir, I haue a kinsman I could willingly wish to your seruice, if you would deigne to accept of him. 2^5 A so. And I shall bee glad (most sweet ladie) to im- brace him: where is hee? MoR. I can fetch him, sir, but I would bee loth to make you turne away your other page. A so. You shall not, most sufficient ladie, I will keepe 220 both : pray you lets goe see him. Arg. Whither goes my loue? 208 Venvs] God Q 220 Exeunt. Q sc. Ill] Cynthias Revels 85 A so. He returne presently, I goe but to see a page, with this ladie. Ana. As sure as fate, 't is so; shee has opened all: A poxe of all cockatrices. Dam'me, if she haue plai'd loose 225 with me, I'le cut her throat, within a haires breadth, so it may be heal'd againe. Mer. What, is he jealous of his Hermaphrodite? Cvp. O, I, this will be excellent sport. Phi. Phantaste! Argvrion! what? you are sod- ^30 ainely strooke, me thinkes ! for loues sake let's haue some musike, till the}^ come. Ambition, reach the lyra, I pray you. Hed. Any thing to which my Honour shall direct mee. Phi. Come, Amorphvs, cheare vp Phantaste. 235 A MO. It shall bee my pride, faire ladie, to attempt all that is in my power. But here is an instrument that (alone) is able to infuse soule in the most melancholique, and dull disposde creature vpon earth. O! let mee kisse thy faire knees. Beauteous eares attend it. 240 Hed. Will you haue the Kisse, Honour? Phi. I, good Ambition. Song. O, That ioy so soone should waste! or so sweet a blisse as a kisse, Might not for euer last! So sugred, so melting, so soft, so delicious. The dew that lyes on roses, When the morne her selfe discloses, is not so precious. 223 [Exeunt Asotits and Moria. G 227 Exit. Q 231 loues sake] Gods will Q haue] ha' Q 238 in] into 1640-G Song.] Ode. Q. 86 Cynthias Revels [act iiii [227] 0, rather then I would it smother, Were I to taste such another; It should bee my wishing That I might dye, kissing. 255 Hed. I made this dittie, and the note to it, vpon a kisse that my Honour gaue me; how hke you it, sir? A MO. A prettie ayre! in generall, I hke it well: but in particular, your long die-note did arride me most, but it was somwhat too long. I can shew one, almost of the 260 same nature, but much before it, and not so long, in a composition of mine owne. I thinke I haue both the note, and dittie about me. Hed. Pray you, sir, see. A MO. Yes, there is the note; and all the parts if I mis- 365 thinke not. I will read the dittie to your beauties here, but first I am to make you familiar with the oc- casion, which presents it selfe thus. Vpon a time, going to take my leaue of the Emperour, and kisse his great hands; there being then present, the kings of France, 270 and Arragon, the dukes of Sauoy, Florence, Orleance, Bourbon, Brunswicke, the Lantgraue, Count Palatine, all which had seuerally feasted me; besides, infinite more of inferiour persons, as Counts and others : it was my chance the Emperour detain'd by some exorbitant affaire) to wait 275 him the fift part of an houre, or much neere it. In which time (retyring my selfe into a bay-window) the beauteous ladie Annabell, neece to the Empresse, and sister to the King of Arragon, who hauing neuer before eyde mee, (but only heard the common report of my vertue, learn- 280 ing, and trauaile) fell into that extremitie of passion, for my loue, that shee there immediately swouned : physicians 254 with kissing G 270 Orleans W, G 273 Counts] Earles Q 274 exorbitant] other Q 276 the beauteous] I en- countred the Q sc. Ill] Cynthias Revels 87 were sent for, she had to her chamber, so to her bed ; where (languishing some few daies) after many times calling vpon me, with my name in her lips, she expirde. As that (I must mourningly say) is the onely fault of my fortune, ^35 that, as it hath euer beene my hap to be sew'd to, by all ladies, and beauties, where I haue come, so, I neuer yet sojourn'd, or rested in that place, or part of the world, where some high-borne admirable faire feature died not for my loue. 290 Mer. O, the sweet power of trauaile! are you guiltie of this, CvPiD? Cvp. No, Mercvrie, and that his page (Cos) knowes, if he were here present to be sworne. Phi. But, how doth this draw on the dittie, sir? =95 Mer. 0, she is too quicke with him ; he hath not deuis'd that yet. A MO. Mary, some houre before she departed, she be- queath'd to mee this gloue ; which golden legacie, the Em- perour himselfe tooke care to send after me, in sixe coaches, 300 couer'd all with blacke vellet, attended by the state of his empire; all which he freely presented mee with, and I reciprocally (out of the same bountie) gaue to the lords that brought it: only reseruing the gift of the deceas'd ladie, vpon which I composde this ode, and set it to my 305 most affected instrument, the lyra. T Song. [228] Hou more then most sweet gloue, Vnto my more sweet loue. Suffer me to store with kisses This emptie lodging, that now misses 310 284 Kps] mouth Q 285 mourningly] needes Q 289 high-borne] great and Q feature] Creature Q 294 if] and Q 299 golden legacie] om. Q 302 presented mee with] gaue me Q 303 gaue it Q 304 reseruing] reseruing, and respecting Q Song] Ode Q 88 Cynthias Revels [act illi The pure rosie hand, that ware thee, Whiter then the kid, that hare thee. Thou art soft, but that was softer; CVPIDS selfe hath kist it ofter, 315 Then ere he did his mothers doues, Supposing her the Queene of loues, That was thy Mistresse, Best of gloues. Mer. Blasphemie, blasphemie, Cvpid. 320 Cvp. I, rie reuenge it time inough; Hermes. Phi. Good Amorphvs, let's heare it sung. A MO. I care not to admit that, since it pleaseth Phi- LAVTIA to request it. Hed. Heere, sir. After he A MO. Nay, play it, I pray you, you doe well, you doe hath sung. ^^^ How like you it, sir? Hed. Verie well in troth. A MO. But very well? O, you are a meere mammo- thrept in judgement, then. Why, doe you not obserue how 330 excellently the dittie is affected in euerie place ? that I doe not marrie a word of short quantitie to a long note ? nor an ascending sillable to a descending tone ? Besides, vpon the word [best) there, you see how I doe enter with an odde minnum, and driue it thorow the brief e, which no 335 intelligent Musician (I know) but wil affirme to be verie rare, extraordinarie, and pleasmg. Mer. And yet not fit to lament the death of a ladie, for all this. Cvp. Tut, heere be they will swallow any thing. 340 Pha. Pray you, let me haue a coppie of it, Amorphvs. Phi. And me too, in troth, I like it exceedmgly. A MO. I haue denied it to princes, neuerthelesse to you 322 admit] do Q 325 {margin) After . . . sung.] He sings. Q sc. Ill] Cynthias Revels 89 (the true female twinnes of perfection) I am wonne, to depart withall. Hed. I hope, I shall haue my Honours coppie. 345 Pha. You are ambitious in that, Hedon. Amo. How now. An aides! what is it hath conjur'd Who is re- vp this distemperature in the circle of your face ? ^^eelin/k%" Ana. S'lood, what haue you to doe ? A pox vpo' your j>age. filthie trauailing face, hold your tongue. 350 Hed. Nay, doo'st heare, mischief e? Ana. Away, muske-cat. Amo. I say to thee, thou art rude, debauch't, impudent, coorse, impolisht, a frapler, and base. Hed. Heart of my father, what a strange alteration [229] has halfe a yeeres haunting of ordinaries wrought in this fellow ! that came with a tuff-taffata ierkin to towne but the other day, and a paire of penilesse hose, and now he is turn'd Heecvles, he wants but a club. Ana. Sir, you with the pencill on your chinne; I will 3^° garter my hose with your guts, and that shall be all. Mer. S'lid, what rare fireworkes be heere ? flash, flash. Pha. What's the matter Hedon? can you tell? Hed. Nothing, but that hee lackes crownes, and thinkes weele lend him some, to be friends. 365 A so. Come, sweet ladie, in good truth rie haue it, you Asotus re- iiiii- -n/r 1 iT Utrncs with shall not denie me. Morvs, perswade your aunt 1 may Moria, and haue her picture, by any meanes. Moms. MoR. Yes, sir: good aunt now, let him haue it, hee will vse mee the better, if you loue me, doe, good aunt. 37° MoR. Well, tell him, he shall haue it. MoR. Master, you shall haue it, she sales. 346 Enter Anaides. Q 347-9 (margin) Who . . . page.] om. Q 349 'Sblod Q vpo'] of God o' Q 350 face] Beard Q 353 debauch't] om. Q 358 and . . . hose] om. Q 360 you . . . chinne] om. Q 361 Exit. Q 364 crownes] mony Q 366-8 (margin) Asotus . . . Morus.] Enter Asot. Mor. Morus. Q go Cynthias Revels [act nil A so. Shall I? thanke her, good page. Cvp. What, has he entertain'd the foole} 375 Mer. I, heele wait close, you shall see, though the begger hang off, a- while. MoR. Aunt, my master thankes you. MoR. Call him hither. MoR. Yes, master. 380 MoR. Yes, in veritie, and gaue me this pursse, and he has promis'd me a most fine dogge; which he will haue drawne, with my picture, he saies: and desires most vehemently to bee knowne to your ladiships. Pha. Call him hither, 'tis good groping such a gull. 385 MoR. Master Asotvs, master Asotvs. A so. For loues sake, let me goe: you see, I am call'd to the ladies. Arc. Wilt thou forsake me then? A so. God so, what would you haue me doe? 390 MoR. Come hither, master Asotvs. I doe ensure your ladiships, he is a gentleman of a verie worthie desert : and of a most bountifull nature. You must shew and in- sinuate your selfe responsible, and equiualent now to my commendment. Good Honors, grace him. 395 A so. I protest (more then most faire ladies) I doe wish all varietie of diuine pleasures, choice sports, sweet mu- sique, rich fare, braue attire, soft beds, and silken thoughts attend these faire beauties. Will it please your ladiship to weare this chaine of pearle, and this diamond, for my 400 sake ? Arg. O. A so. And you, Madame, this iewell, and pendants. Arg. O. 376 a- while] om. Q 380 veritie] very truth Q 382 he saies] om. Q 386 loues] Gods Q 389 Gods Q 396-7 pleasure . . . sport . . . Attyres Q sc. Ill] Cynthias Revels 91 Pha. Wee know not how to deserue these bounties, out of so sHght merit, Asotvs. 40s Phi. No, in faith, but there's my gloue for a fauour. [230] Pha. And soone, after the reuells, I will bestow a garter on you. A so. O Lord, ladies! it is more grace then euer I could haue hop'd, but that it pleaseth your ladiships to extend. 41° I protest, it is enough, that you but take knowledge of my if your ladiships want embroidered gownes, tires of any fashion, rebatu's, iewells, or carkanets, any thmg whatsoeuer, if you vouchsafe to accept. Cvp. And for it, they will helpe you to shooe-ties, 415 and deuices. A so. I cannot vtter my selfe (deare beauties) but, you can conceiue Arg. O. Pha. Sir, we will acknowledge your seruice, doubt not : 420 henceforth, you shall bee no more Asotvs to vs, but our gold-finch, and wee your cages. Aso. OVenvs, Madams! how shall I deserue this? if I were but made acquainted with He don, now, I'le trie: pray you away. 42s M E R. How he praies Money to goe away from him I Aso. Amorfhvs, a word with you: here's a watch I would bestow vpon you, pray you make me knowne to that gallant. A MO. That I will, sir. Monsieur Hedon, I must 430 intreat you to exchange knowledge with this gentle- man. Hed. 'Tis a thing (next to the water we expect) I thirst after, sir. Good Monsieur Asotvs. Aso. Good Monsieur Hedon, I would be glad to be 435 lou'd of men of your ranke, and spirit, I protest. Please 423 Venvs] God Q 425 away \_To Argurion. G 92 Cynthias Revels [act iiii you to accept this paire of bracelets, sir: they are not worth the bestowing Mer. O, Hercvles, how the gentleman purchases! 440 this must needes bring Argvrion to a consumption. Hed. Sir, I shall neuer stand in the merit of such bountie, I feare. A so. O, Venvs, sir: your acquaintance shall bee sufficient. And if at any time you neede my bill, or my 445 bond. 0,6. Helpe the ladie there. Gods deare, Argvrion! Madame, how doe Argurion Arg. swounes. Amo. MOR. you? 450 Arg. Pha. Sicke. Haue her forth, and giue her aire. A so. I come againe strait, ladies. Mer. Well, I doubt, all the physique hee has will scarce recouer her: shee's too farre spent. [231] • Act IIII. Sce?ie i 1 1 i . Philavtia, Gelaia, Anaides, Cos, Prosaites, Phantaste, Moria, Amorphvs, Hedon. O Here's the water come: fetch glasses, page. Gel. Heart of my body, here's a coile indeed, with your iealous humours. Nothing but whore, and bitch, and all the villanous swaggering names you can thinke on ? 5 S'lid, take your bottle, and put it in your guts for me, rie see you poxt ere I follow you any longer. Ana. Nay, good punke, sweete rascall; dam' mee, if I am iealous now. 443 Venvs] Lord Q 454 Exeunt Asotus, Morus, Argurion. Q SCENA. 4. Q Act . . . Hedon.] Re-enter Anaides with Gelaia, Prosaites, and Cos, with the bottles. G I Phi. Q sc. iiii] Cynthias Revels 93 Gel. That's true indeede: pray let's goe. MoR. What's the matter, there? '° Gel. S'hght, he has mee vpon intergatories, (nay, my mother shall know how you vse me) where I haue beene ? and, why I should stay so long ? and, how ist possible ? and withall, calls me at his pleasure, I know not how many cockatrices, and things. 15 M o R. In truth and sadnesse, these are no good epitaphs, Anaides, to bestow vpon any gentlewoman; and (He ensure you) if I had knowne you would haue dealt thus with my daughter, she should neuer haue fancied you so deeply, as shee has done. Goe too. 2° Ana. Why, doe you heare, mother Mori A. Heart! MoR. Nay, I pray you, sir, doe not sweare. Ana. Sweare ? why ? S'lood, I haue swome afore now, I hope. Both you and your daughter mistake me. I haue not honor'd Arete, that is held the worthiest ladie in 25 court (next to Cynthia) with halfe that obseruance, and respect, as I haue done her in priuate, howsoeuer outward- ly I haue carried my selfe carelesse, and negligent. Come, you are a foolish punke, and know not when you are well imploi'd. Kisse me, come on. Doe it, I say. 30 MoR. Nay, indeed I must confesse, shee is apt to misprision. But I must haue you leaue it, minion. A MO. How now, Asotvs? how do's the ladie? A so. Faith, ill. I haue left my page with her, at her lodging. 35 Hed. O, here's the rarest water that euer was tasted: fill him some. Pro. What! has my master a new page? Mer. Yes, a kinsman of the ladie Mori as: you must waite better now, or you are casheer'd, Prosaites. 40 Ana. Come, gallants, you must pardon my foolish 16 epitaphs] Epithites Q 23 Sblood Q 25 in] in the Q 32 Enter Asottis. Q 94 Cynihias Revels [act iiii humour : when I am angrie, that any thing crosses mee, I grow impatient straight. Here, I drinke to you. Phi. O, that we had fine, or sixe bottles more of this 45 liquor. [232] Pha. Now I commend your iudgement, Amorphvs, who's that knockes ? Looke, page. MoR. O, most delicious, a little of this would make Argvrion well. 5° Pha. O, no, giue her no cold drinke, by any meanes. Ana. S'lood, this water is the spirit of wine, I'le be hang'd else. Cvp. Here's the ladie Arete, Madame. Act IIII. Scene v. Arete, Moria, Phantaste, Philavtia, An- aides,Gelaia, Cos, Prosaites, Amorphvs, Aso- Tvs, Hedon, Mercvrie, Cvpid. A^/Hat ! at your beuer, gallants ? Mor. Wilt please your ladiship drinke? tis of the new fountayne water. Are. Not I, Moria, I thanke you. Gallants, you are 5 for this night free, to your peculiar delights; Cynthia will haue no sports: when shee is pleas'd to come forth, you shall haue knowledge. In the meane time, I could wish you did prouide for solemne reuels, and some vn- look't-for deuice of wit, to entertaine her, against she should lo vouchsafe to grace your pastimes with her presence. 46 Axnoriphus:— [knocking within.'] G 47 [Exit. Cos. G 51 Sblood Q 52 else. Re-enter Cos with Abete. G SCENA. 5. Q Act . . . Cvpid.] om. G 1 Arete. Q 2 diinke] to drinke 1640-G 4-10 are . . . presence.] must prouide for some solemne Reuels to night, Cynthia is minded to come foorth, and grace your sports with her presence; therefore I could wish there were some thing extraordinary to entertaine her. Q sc. v] Cynthias Revels 95 A MO. What say you to a Masque} Hed. Nothing better, if the proiect were new, and rare. Are. Why, He send for C rites, and haue his aduice; be you ready in your indeauours : He shall discharge you of the inuentiue part. ^s Pha. But, will not your ladiship stay? Are. Not now, Phantaste. Phi. Let her goe, I pray you, good ladie Sobrietie, I am glad wee are rid of her. Pha. What a set face the gentlewoman has, as shee ^° were still going to a sacrifice? Phi. O, shee is the extraction of a dozen of Puritans, for a looke. Mor. Of all Nymphs i' the court, I cannot away with her; 'tis the coursest thing 25 Phi. I wonder, how Cynthia can affect her so aboue the rest ! Here be they are euery way as faire as shee, and a thought fairer, I trow. Pha. I, and as ingenious, and conceited as shee. Mor. I, and as politique as shee, for all shee sets such 30 a fore-head on't. Phi. Would I were dead, if I would change to be Cynthia. Pha. Or I. Mor. Or I. 3s Amo. And there's her minion Crites! why his aduice more then Amorphvs? haue not I inuention, afore him ? Learning, to better that inuention, aboue him ? and inf ant- ed, with pleasant trauaile [233] Ana. Death, what talke you of his learning ? he vnder- 40 stands no more then a schoole-boy; I haue put him downe my selfe a thousand times (by this aire) and yet 12 the] the Inuention or Q 14 be you] you will be Q 14-5 He . . . part.] om. Q 16 But] Yes; but Q 17 Exit. Q 37 not I] I not Q 38-9 infanted . . . pleasant] om. Q 96 Cynthias Revels [act nil I neuer talkt with him but twice, in my Ufe: you neuer saw his hke. I could neuer get him to argue with me, but 45 once, and then, because I could not construe an Author I quoted at first sight, hee went away, and laught at me. By Hercvles, I scorne him, as I doe the sodden Nymph, that was here e'en now, his mistris Arete: And I loue my selfe for nothing else. 50 Hed. I wonder the fellow do's not hang himselfe, being thus scom'd, and contemn'd of vs that are held the most accomplisht societie of gallants ! Mer. By your selues, none else. Hed. I protest, if I had no musique in me, no court- 55 ship, that I were not a reueller and could dance, or had not those excellent qualities that giue a man life, and perfection, but a meere poore scholer as he is, I thinke I should make some desperate way with my selfe, whereas now (would I might neuer breathe more) if I doe know 60 that creature in this kingdome, with whom I would change. Cvp. This is excellent: well, I must alter all this soone. Mer. Looke you doe, C v p i d. The bottles haue wrought, it seemes. 65 Aso. O, I am sorry the reuels are crost. I should ha' tickled it soone. I did neuer appeare till then. S'lid, I am the neatlyest-made gallant 1' the companie, and haue the best presence ; and my dancing well, I know what our vsher said to me, last time I was at the schoole : would I 70 might haue lead PniLAVTiAin the measures, and it had beene the gods will. I am most worthy, I am sure. 45-6 an . . . quoted] a peece of Horace Q 47 Hercvles] Gods willQ 48 euen Q 62 all] om. Q 63-4 The . . . seemes.] om. Q 65 I . . . crost.] om. Q should ha' tickled] shall tickle Q 68 weU] om. Q our] the Q 69 the last Q 70 haue lead] leade Q measure Q it . . . gods] 'tweere gods Q 71 Enter Morus. Q sc. v] Cynthias Revels 97 MoRVS. Master, I can tell you newes, the ladie kist mee yonder, and plaid with me, and sayes shee lou'd you once, as well as shee do's me, but that you cast her off. A so. Peace, my most esteemed page. 75 MoRVS. Yes. A so. What lucke is this, that our reuels are dasht? Now was I beginning to glister, i' the very high way of preferment. And Cynthia had but scene me dance a straine, or doe but one trick, I had beene kept in court, so I should neuer haue needed to looke towards my friends againe. A MO. Containe your selfe. You were a fortunate yong man, if you knew your owne good: which I haue now proiected, and will presently multiply vpon you. Beauties, ss and Valors, your vouchsaf'd applause to a motion. The humorous Cynthia hath, for this night, with-drawne the light of your de-light Pha. Tis true Amorphvs, what may we doe to redeeme it ? 9° A MO. Redeeme that we cannot, but, to create a new flame, is in our power. Here is a gentleman my scholer, whom (for some priuate reasons me specially mouing) I am couetous to gratifie with title of Master, in the noble, [234] and subtile science of Courtship : For which grace, he shall 95 this night in court, and in the long gallery, hold his pub- lique Act, by open challenge, to all Masters of the mysterie whatsoeuer, to play at the foure choice, and principall weapons thereof, viz. the bare Accost, the better Regard, the solemne Addresse, and the perfect Close. What say you ? 100 All. Excellent, excellent, Amorphvs. A MO. Well, let vs then take our time by the fore-head: I will instantly haue bills drawne, and aduanc'd in euery 77-101 om. Q 102 Well . . . time] Gallants, thinke vpon your Time, and take it Q 103-4 I . . . ioy] om. Q G g8 Cynthias Revels [act iiii angle of the court. Sir, betray not your too much ioy. 1^5 An AIDES, wee must mixe this gentleman with you in acquaintance, Monsieur A sot vs. Ana. I am easily intreated to grace any of your friends, Amorphvs. A so. Sir, and his friends shall likewise grace you, sir. no Nay, I begin to know my selfe, now. Amo. O, you must continue your bounties. A s o. Must I ? why, I'le giue him this ruby on my finger. Doe you heare, sir ? I doe heartily wish your acquaintance, and I partly know my selfe worthy of it ; please you, sir, "5 to accept this poore ruby, in a ring, sir. The poesie is of my owne deuice. Let this blush for me, sir. Ana. So it must for me, too. For I am not asham'd to take it. MoRVS. Sweet man! by my troth, master, I loue you, I20 will you loue me, too ? for my aunts sake ? He waite well, you shall see. He still bee here. Would I might neuer stirre, but you are a fine man in these clothes. Master, shall I haue 'hem, when you haue done with them ? A so. As for that, Morvs, thou shalt see more here- 125 after: in the meane time, by this aire, or by this feather. He doe as much for thee, as any gallant shall doe for his page, whatsoeuer, in this court, corner of the world, or kingdome. Mer. I wonder, this gentleman should affect to keepe 130 a foole ! mee thinkes, he makes sport enough with himselfe. Cvp. Well, Prosaites, 'twere good you did waite closer. Pro. I, He looke to it; 'tis time. 112 finger.] finger. Hed. Come Ladies; but stay we shall want one to Lady it in our Masque in place of Argurion. Anai. Why my page shall do it, Gelaia. Hed. Troth and he'le do it weU, it shalbe so. Exeunt. Q 118 Exit. Q 122-3 a . . . them?] in gay clothes. Q 128 Exeunt. Q [Exeunt all hut the Pages. G sc. v] Cynthias Revels 99 Cos. The reuels would haue beene most sumptuous to night, if they had gone forward. ^35 Mer. They must needs, when al the choisest singular- ities of the court were vp in pantofles; ne're a one of them, but was able to make a whole shew of it selfe. A so. Sirrah, a torch, a torch. Within. Pro. O, what a call is there! I will haue a canzonet 140 made, with nothing in it, but sirrah ; and the burthen shall be, I come. Mer. How now, C v p i d , how doe you like this change ? Cvp. Faith, the thred of my deuice is crackt, I may goe sleepe till the reuelling musique awake me. 145 Mer. And then too, Cvpid, without you had preuent- ed the Fountayne. Alas, poore god, that remembers not selfe-Loue, to bee proofe against the violence of his [235] quiuer ! Well, I haue a plot vpon these prizers, for which, I must presently find out C r i te s , and with his assistance, 150 pursue it to a high straine of laughter, or Mercvrie hath lost of his mettall. Act V. Scene i . Mercvrie, Crites. IT is resolu'd on, Crites, you must doe it. C R I . The grace diuinest Mercvrie hath done me. In this vouchsafde discouerie of himselfe. Binds my obseruance in the vtmost terme Of satisfaction, to his godly will: Though I professe (without the affectation 134-6 The . . . forward.] Wee are like to haue sumptuous Reuells to night Sirs. Q 135 Exit. Q 136 They] We Q 137 were] are Q 138 was] is Q 139 (margin) Within.'] Hedon within. Q 142 Exeunt Omnes. Q [Exit. G 4. 5. 143- 5. 5. 1] om. Q 162 [Exeunt. G The same. Enter, etc. G G2 100 Cynthias Revels [act v Of an enforc'd, and form'd austeritie) I could be willing to enioy no place With so vnequall natures. Mer. We beleeue it. 1° But for our sake, and to inflict iust paines On their prodigious follies, aide vs now: No man is, presently, made bad, with ill. And good men, like the sea, should still maintaine Their noble taste, in midst of all fresh humours, IS That flow about them, to corrupt their streames, Bearing no season, much lesse salt of goodnesse. It is our purpose, C rites, to correct, And punish, with our laughter, this nights sport Which our court-Dors so heartily intend: 2° And by that worthy scorne, to make them know How farre beneath the dignitie of man Their serious, and most practis'd actions are. Cri. I, but though Mercvrie can warrant out His vnder-takings, and make all things good, 25 Out of the powers of his diuinitie, Th'offence will be return'd with weight on me, That am a creature so despisde, and poore; When the whole Court shall take it selfe abusde By our ironicall confederacie. 30 Mer. You are deceiu'd. The better race in court That haue the true nobilitie, call'd vertue, Will apprehend it, as a gratefull right Done to their separate merit: and approue The fit rebuke of so ridiculous heads, 35 Who with their apish customes, and forc'd garbes, Would bring the name of courtier in contempt, Did it not Hue vnblemisht in some few, [236] Whom equall Iove hath lou'd, and Phcebvs form'd Of better mettall, and in better mould. 40 Cri. Well, since my leader on is Mercvrie, I shall not feare to follow. If I fall. sc. ii] Cynthias Revels loi My proper vertue shall be my reliefe, That follow'd such a cause, and such a chiefe. Act V. Sce?ie 1 1 . ASOTVS, Amorphvs. NO more, if you loue mee, good master, you are in- compatible to hue withall : Send mee for the ladies. A MO. Nay, but intend me. A so. Feare me not, I warrant you, sir. A MO. Render not your selfe a refractarie, on the sod- s aine. I can allow well, you should repute highly, heartily (and to the most) of your own endowments; it giues you forth to the world the more assur'd : but with reseruation of an eye, to be alwaies tum'd dutifully back vpon your teacher. ^° A so. Nay, good, sir, leaue it to mee. Trust mee with trussing all the points of this action, I pray. S'lid, I hope we shall find wit to performe the science, as well as another. A MO. I confesse you to be of an aped, and docible humour. Yet, there are certaine puntilioes, or (as I may 15 more nakedly insinuate them) certaine mtrinsecate strokes, and wardes, to which your actiuitie is not yet amounted. As your gentile dor, in colours. For supposition, your mistris appeares heere in prize, ribbanded with greene, and yellow; now it is the part of euery obsequious seruant, 20 to be sure to haue daily about him copie, and varietie of colours, to be presently answerable to any hourely, or half-hourely change in his mistris reuolution. A so. (I know it, sir. Amo. Giue leaue, I pray you) which if your Antagonist, 25 43 [Exeunt. Another Room in the same. Enter, etc. G 14 aped] apted W, G 102 Cynthias Revels [act v or player-against-you shall ignorantly be without, and your selfe can produce; you giue him the dor. A so. I, I, sir. A MO. Or, if you can possesse your opposite, that the 3° greene your mistris weares, is her reioycing or exultation in his seruice ; the yellow, suspicion of his truth, (from her height of affection :) and that he (greenly credulous) shall withdraw thus, in priuate, and from the aboundance of his pocket (to displace her jelous conceit) steale into his 35 hat the colour, whose bluenesse doth expresse truenesse, (shee being nor so, nor so affected) you giue him the dor. A so. Doe not I know it, sir? A MO. Nay, good swell not aboue your vnder- standing. There is yet a third dor, in colours. ^° A so. I know it too, I know it. [237] A MO. Doe you know it too? what is it? Make good your knowledge. A so. Why it is no matter for that. A MO. Doe it, on poene of the dor. 45 A so. Why? what is't, say you? A MO. Loe, you haue giuen your selfe the dor. But I will remonstrate to you the third dor; which is not, as the two former dors, indicatiue, but deliberatiue : As how? As thus. Your Riualis, with a dutifull, and serious care, 50 lying in his bed, meditating how to obserue his mistris, dispatcheth his lacquay to the chamber, early, to know what her colours are for the day; with purpose to apply his weare that day, accordingly: You lay wait before, preoccupie the chamber- maide, corrupt her, to returne 55 false colours ; He followes the fallacie ; comes out accoutred to his beleeu'd instructions; your mistresse smiles; and you giue him the dor. A so. Why, so I told you, sir, I knew it. A MO. Tolde mee ? It is a strange outrecuidance ! your 60 humour too much redoundeth. sc. Ill] Cynthias Revels 103 A so. Why, sir, what, doe you thinke you know more ? A MO. I know that a cooke may as soone, and properly be said to smel wel, as you to be wise. I know these are most cleere, and cleane strokes. But then, you haue your passages, and imhroccata's in courtship; as the hitter Bob ^s in wit ; the Reuerse in face, or wry-mouth ; and these more subtle, and secure offenders. I will example vnto you. Your opponent makes entrie, as you are ingag'd with your mistresse. You seeing him, close in her eare, with this whisper (here comes your Bahion, disgrace him) and with- 7° all, stepping off, fall on his bosome, and turning to her, politiquely, aloud say, ladie, reguard this noble gentleman, a man rarely parted, second to none in this court; and then, stooping ouer his shoulder, your hand on his brest, your mouth on his back-side, you gme him the Reuerse 75 stroke, with this Sanna, or Storkes-bill, which makes vp your wits Boh, most bitter. A so. Nay, for heauens sake, teach me no more. I know all as well — S'lid, if I did not, why was I nomin- ated ? why did you chuse mee ? why did the ladies pricke 30 out mee ? I am sure there were other gallants. But me of all the rest ? By that light, and as I am a courtier, would I might neuer stirre, but 't is strange. Would to the lord, the ladies would come once. Act V. Scene 1 1 1 . Morphides,Amorphvs,Asotvs,Hedon, Anaides, The Throng. Ladies, Citizen, Wife, Pages, Taylor, Mercer, Perfvmer, Jeweller, &c. Olgnior, the gallants and ladies are at hand. Are you readie, sir? A MO. Instantly. Goe, accomplish your attire: Cousin Act . . . &c.] Enter Morphides. G 3 attire: {Exit Asottis G 104 Cynthias Revels [act v MoRPHiDES, assist me, to make good the doore with your 5 officious tyrannic. [238] CiT. By your Icaue my masters there, pray you let's come by. Pag. You by ? why should you come by, more then we ? WiF. Why, sir ? Because he is my brother, that playes 1° the prizes. MoR. Your brother? CiT. I, her brother, sir, and we must come in. Tay. Why, what are you? CiT. I am her husband, sir. 15 Tay. Then thrust forward your head. A MO. What tumult is there? MoR. Who's there? beare backe there. Stand from the doore. Amo. Enter none but the ladies, and their hang-bies; 2o welcome Beauties, and your kind Shadowes. Hed. This countrie ladie, my friend, good signior Amorphvs. Ana. And my cockatrice, heere. Amo. She is welcome. 25 MoR. Knocke those same pages there; and goodman Cockescombe the cittizen, who would you speake withall ? Amo. With whom? your brother? MoR. Who is your brother? Amo. Master a sot vs? Is hee your brother ? Hee is 30 taken vp with great persons. Hee is not to know you to night. 6 Citizen [within.'] O 8 Pages [within.li G 9 Citizen's Wife [within.] O 12 Citizen [within.] G 13 Tailor [within.] G 14 Citizen [within.] 15 Tailor [within.] 19 hang- byes. [Enter Phantaste, Philautia, Argurion, Moria, Hedon and Anaides, introducing two Ladies.] G 24 The Citizen and his Wife, Pages, &c., appear at the door. G 26 withal? Wife. My brother. G 31 night. Re-enter Asotds, hastily. sc. Ill] Cynthias Revels 105 Aso. OIovE, master! and there come ere a cittizen gentlewoman in my name, let her haue entrance, I pray you. It is my sister. WiF. Brother. 35 CiT. Brother, master Aso TVS. Aso. Who's there? WiF. 'Tis I, brother. Aso. Gods me! There she is, good master, intrude her. MoR. Make place. Beare backe there. 40 A MO. Knocke that simple fellow, there. WiF. Nay, good sir; It is my husband. MoR. The simpler fellow hee. Away, backe with your head, sir. Aso. Brother, you must pardon your non-entry: 45 Husbands are not allow'd here in truth. lie come home soone with my sister; pray you meet vs with a lanthorn, brother. Be merrie, sister: I shall make you laugh anon. Pha. Your prizer is not readie Amorphvs. A MO. Apprehend your places, hee shall be soone; and 50 at all points. Ana. Is there any body come to answer him ? Shal we haue any sport. A MO. Sport of importance; howsoeuer, giue me the gloues. 55 Hed. Gloues! why gloues, Signiorl Phi. What's the ceremonie? He du- Amo. Besides their receiu'd fitnesse, at all prizes, they ^^'^"^« ■* "^ gioues are here properly accommodate to the nuptials of my schollers hauiour to the ladie courtship. Please you apparell 60 your hands. Madam Phantaste, madam Philavtia, Guardian, Signior H E D o N, Signior A N A i D E s , Gentlemen aU, Ladies. All. Thankes, good Amorphvs. [239] 36 Cit. [thrubting in.'] G 40 there! Enter Citizen'' s Wife. G 44 sir! [Pushes the Citizen hack. G 48 [Exit. G io6 Cynthias Revels [act v 65 A MO. I will now call forth my prouost, and present him. Ana. Heart! why should not we be masters, aswell as he? Hed. That's true, and play our masters prizes, as well as the t'other? 70 MoR. In sadnesse, for vsing your court-weapons, me thinks, you may. Pha. Nay, but why should not wee ladies play our prizes, I pray ? I see no reason, but we should take 'hem downe, at their owne weapons. 75 Phi. Troth, and so we may, if we handle 'hem well. WiF. I indeed, forsooth, Madame, if 'twere i' the citie, wee would thinke foule scorne, but we would, forsooth. Pha. Pray you, what should we call your name? WiF. My name is, Downefall. 80 Hed. Good mistris Downejalll I am sorry, your hus- band could not get in. WiF. 'Tis no matter for him, sir. Ana. No, no, shee has the more hberty for her selfe. A floiirisii. Pha. Peace, peace: They come. 85 A MO. So. Keepe vp your ruffe: the tincture of your necke is not all so pure, but it will aske it. Maintayne your sprig vpright; your cloke on your halfe-shoulder falling; So: I will reade your bill, aduance it, and present you. Silence. The chai- Be it kfiowne to all that prof esse courtship, by these presents '^""^ if^om the white sattin reueller, to the cloth of tissue, and bodkin) that we, Vl ysses-Polytropvs-Amorphvs, Master of the noble, and subtile science of courtship, doe giue leaue and licence to our Prouost, Acolastvs- 95 Polypragmon-Asotvs, to play his Masters prize, against all Masters whatsoeuer in this subtile mysterie, at 65 Exit. G 84 Re-enter Amorphds, introducing Asotds in a full-dress suit. G sc. Ill] Cynthias Revels 107 these foure, the choice, and most cunning weapons of court- complement, viz. the bare Accost; the better Reguard; the solemne Addresse ; and the perfect Close. These are there- fore to giue notice, to all commers, that hee, the said A CO- 1°° LASTVS-PoLYPRAGMON-AsoTVS, is here present {by the helpe of his Mercer, Taylor, Millaner, Sempster, and so forth) at his designed houre, in this faire gallery, the present day of this present moneth, to performe, and doe his vttermost for the atchieuement, and hearing away of the prizes, which 105 are these : viz. for the bare Accost, two Wall-eyes, in a face forced: For the better Reguard, a Face fauourably sim- pring, with a Fanne wauing : For the solemne Addresse, two Lips wagging, and neuer a wise word: For the perfect Close, a Wring by the hand, with a Banquet in a corner. And "o Phcebvs saue Cynthia. Appeareth no man yet, to answere the prizer ? No voice ? Musique, giue them their summons. Musique ^ ° sounds. Pha. The solemnity of this is excellent. A MO. Silence. Well, I perceiue your name is their 115 terror; and keepeth them backe. A so. I faith. Master, Let's goe: no body comes. Victus, victa, victum: Victi, victcB, victi Let's bee retrograde. [240] A MO. Stay. That were dispunct to the ladies. Rather, 120 our selfe shall be your Encounter. Take your state, vp, to the wall : And, ladie, may we implore you to stand forth, as first terme, or bound to our courtship. Hed. 'Fore heauen, 'twill shew rarely. a charge. A MO. Sound a charge. 125 Ana. a poxe on't. Your vulgar will count this fabu- lous, and impudent, now: by that candle, they'le ne're conceit it. Pha. Excellent well! Admirable! 122 lady, [leading Moria to the state.'[ G io8 Cynthias Revels [act V They act their accost scuera Uy to the lady that stands forth. Phi. Peace. Hed. Most fashionably, beleeue it. Phi. O, he is a well-spoken gentleman. Pha. Now the other. Phi. Very good. 135 Hed. For a Scholer, Honor. Ana. O, 'tis too dutch. He reeles too much. A flourish. Hed. This weapon is done. A MO. No, we haue our two bouts, at euery weapon, expect. VV Act V. Scene 1 1 1 1 . To them. CrITES, MeRCVRIE. Here be these gallants, and their braue prizer here? MoRP. Who's there? beare backe: Keepe the dore. Amor. What are you, sir? 5 Crit. By your licence, grand-master. Come forward, sir. Anai. Heart! who let in that rag there, amongst vs? put him out, an impecunious creature. Hedo. Out with him. 10 MoRP. Come, sir. Amor. You must be retrograde. Crit. Soft, sir, 1 am Truckman, and doe flourish before this Monsieur, or jrench-be\i3M' 6. gentleman, here ; who is drawne hither by report of your chartells, aduanced 15 in court, to proue his fortune with your prizer, so he may haue faire play shewne him, and the libertie too choose his stickler. Amor. Is he a Master? Act . . . Mercvrie.] om. G 1 Cri. [within.] G 3 Enter C rites, introdticing Mercury, fantastically dressed. G 6 [To Mercdry. G sc. iiii] Cynthias Revels 109 Crit. That, sir, he has to shew here; and, confirmed vnder the hands of the most skilful!, and cunning comple- ^o mentaries aliue: please you reade, sir. Amor. What shall we doe? Anai. Death, disgrace this fellow i' the blacke-stuffe, what euer you doe. Amor. Why, but he comes with the stranger. 25 He DO. That's no matter. He is our owne countryman. Ana. I, and he is a scholer besides. You may disgrace [241" him here, with authoritie. A MO. Well, see these first. A so. Now shall I be obseru'd by yon'd scholer, till 1 3° sweat againe; I would to Iovb, it were ouer. Cri. Sir, this is the wight of worth, that dares you to the encounter. A gentleman of so pleasing, and ridiculous a carriage; as, euen standing, carries meat in the mouth, you see; and I assure you, although no bred courtling, 35 yet a most particular man, of goodly hauings, well fashion'd hauiour, and of as hard'ned, and excellent a barke, as the most naturally-qualified amongst them, inform'd, reform'd, and transform'd, from his originall citticisme, by this elixir, or meere magazine of man. And, '^° for your spectators, you behold them, what they are: The most choice particulars in court : This tels tales well ; This prouides coaches; This repeates iests; This presents gifts ; This holds vp the arras ; This takes downe from horse ; This protests by this light; This sweares by that candle; 45 This delighteth; This adoreth. Yet, all but three men. Then for your ladies, the most proud wittie creatures, all things apprehending, nothing vnderstanding, perpetually laughing, curious maintayners of fooles, mercers, and min- strels, costly to be kept, miserably keeping, all disdayning, 5° but their painter, and pothecary, twixt whom and them 25 \Qives him a certificate. G 32 Cri. [to Mercury.] G no Cynthias Revels [act v there is this reciprock commerce, their beauties maintaine their painters, and their painters their beauties. Mer. Sir, you haue plaid the painter your selfe, and 55 limb'd them to the hfe. I desire to deserue before 'hem. Hauing read A MO. This is authentiquc . Wee must resolue to entertaine the certificate. ^^ MonsieuY, howsocuer we neglect him. Hed. Come, let's all goe together, and salute him. Ana. Content, and not looke o' the other. 6° A MO. Well deuis'd: and a most punishing disgrace. Hed. On. A MO. Monsieur. We must not so much betray our selues to discourtship , as to suffer you to be longer vn- saluted: Please you to vse the state, ordain'd for the 65 opponent; in which nature, without enuy we receiue you. Hed. And embrace you. Ana. And commend vs to you, sir. Phi. Beleeue it, he is a man of excellent silence. 70 Pha. He keepes all his wit for action. Ana. This hath discountenanc'd our scholaris, most richly. Hed. Out of all emphasis. The Monsieur sees, we regard him not. 75 A M o. Hold on : make it knowne how bitter a thing it is, not to bee look't on in court. Hed. S'lud, will he call him to him yet? doe's not Monsieur perceiue our disgrace? Ana. Hart! he is a foole, I see. Wee haue done our 80 selues wrong to grace him. 242] Hed. S'light, what an asse was I, to embrace him? Cri. Illustrous, and fearefull iudges Hed. Turne away, tume away. Cri. It is the sute of the strange opponent (to whom 85 you ought not to turne your tailes, and whose noses I must follow) that he may haue the iustice, before hee sc. iiii] Cynthias Revels iii encounter his respected aduersarie, to see some light stroke of his play, commenc'd with some other. Hed. Answere not him, but the stranger, we will not beleeue him. 9° A MO. I will demand him my selfe. Cri. O dreadfull disgrace, if a man were so foolish to feele it! Amo. Is it your sute, Monsieur, to see some prcelude of my scholer? Now, sure the Monsieur wants language. 95 Hed. And take vpon him to be one of the accomplisht ? S'light, that's a good iest: would we could take him with that nullitie. Non sapette voi parlar' Itagliano ? Ana. S'foot, the carpe ha's no tongue. Cri. Signior, in courtship, you are to bid your abettors 1°° forbeare, and satisfie the Monsieur s request. Amo. Well, I will strike him more silent, with admira- tion, and terrific his daring hither. Hee shall behold my owne play, with my scholer. Ladie, with the touch of your white hand, let me re-enstate you. Prouost, begin 105 to me, at the bare Accost. Now, for the honor of my discipline. Hed. Signior Amorphvs, reflect, reflect: what meanes hee by that mouthed wane? Cri. He is in some distaste of your fellow disciple. no Mer. Signior, your scholer might haue plaid well still, if hee could haue kept his seate longer : I haue enough of him, now. He is a mere peece of glasse, I see through him, by this time. Amo. You come not to glue vs the scorne. Monsieur} "s Mer. Nor to be frighted with a face. Signior \ I haue scene the lyons. You must pardon me. I shall bee loth to hazzard a reputation with one, that ha's not a repu- tation to lose. 105 you. [Leads Moria back to the state.] G Provost, [to Asotus] G 112 Cynthias Revels [act v 120 A MO. How! Cri. Meaning your pupil, sir. Ana. This is that blacke deuill there. A MO. You doe offer a strange affront, Monsieur. Cri. Sir, he shall yeeld you all the honor of a competent "5 aduersarie, if you please to vnder-take him Mer. I am prest for the encounter. A MO. Me? challenge me? A s o. What ! my Master, sir ? S'light, Monsieur, meddle with me, doe you heare? but doe not meddle with my 130 Master. Mer. Peace, good squib, goe out. Cri. And stinke, he bids you. A so. Master? [243] A MO. Silence, I doe accept him. Sit you downe, and ^35 obserue. Me ? He neuer profest a thing at more charges. Prepare your selfe, sir. Challenge me? I will prosecute what disgrace my hatred can dictate to me. Cri. How tender a trauailers spleene is? comparison, to men, that deserue least, is euer most offensiue. MO A MO. You are instructed in our chartell, and know our weapons ? Mer. I appeare not without their notice, sir. A SO. But must I lose the prizes. Master} A MO. I will win them for you, bee patient. Lady, 145 vouchsafe the tenure of this ensigne. Who shall be your stickler ? Mer. Behold him. A MO. I would not wish you a weaker. Sound musiques. I prouoke you, at the hare Accost. A charge. Pha. Exccllcnt comcly ! Cri. And worthily studied. This is th' exalted Fore-top. Hed. O, his legge was too much produc'd. 144 Lady, [to Moria.] G 147 [Points to Crites. O sc. iiii] Cynthias Revels 113 Ana. And his hat was carried skiruily. Phi. Peace; Let's see the Monsieur's Accost: Rare! Pha. Sprightly, and short. 'S5 Ana. True, it is the french curteau: He lacks but to haue his nose slit. Hed. He do's hop. He do's bound too much. A flourish. A MO. The second bout, to conclude this weapon. a charge. Pha. Good, beleeue it! ^^o Phi. An excellent offer! Cri. This is call'd the solemne hand-string. Hed. Foe, that cringe was not put home. Ana. S'foot, he makes a face like a stab'd Lvcrece. A so. Well, he would needes take it vpon him, but 165 would I had done it for all this. He makes me sit still here, like a babioun as I am. Cri. Making villanous faces. Phi. See, the French prepares it richly. Cri. I, this is y'cleped the serious trifle. '7° Ana. S'lud, 'tis the horse-start out 0' the browne studie. Cri. Rather the hird-ey'd stroke, sir. Your ohseruance a flourish. is too blunt, sir. A MO. ludges, award the prize. Take breath, sir. This bout hath beene laborious. 175 A so. And yet your Criticke, or your Besso'gno, will thinke these things fopperie, and easie, now. Cri. Or rather meere lunacy. For, would any reason- able creature make these his serious studies, and perfec- tions ? Much lesse, onely hue to these ends ? to be the iSo false pleasure of a few, the true loue of none, and the iust laughter of all ? Hed. We must preferre the Monsieur, we courtiers must be partiall. Ana. Speake, Guardian. Name the prize, at the bare 1S5 Accost. 163 Foe] Foh 1640-Q H 114 Cynthias Revels [act v MoR. A paire of wall-eyes, in a face forced. [244] Ana. Giue the Monsieur. Amorphvs hath lost his eies. 190 Amo. I! is the palate of your judgement downe? Gentles, I doe appeale. A so. Yes master, to me. The judges be fooles. Ana. How now, sir? Tie vp your tongue, Mungrill. He cannot appeale. 195 A so. Say you, sir? Ana. Sit you still, sir. A so. Why, so I doe. Doe not I, I pray you? Mer. Rcmercie, Madame, and these honourable Censors. 200 Amo. Well, to the second wea.pon, The better Reguard: I will encounter you better. Attempt. Hed. Sweet Honour. Phi. What sayes my good Ambition} Hed. Which take you at this next weapon? I lay a 205 discretion, with you, on Amorphvs head. Phi. Why, I take the french-heh^M'd gentleman. Hed. 'Tis done, a discretion. Cri. a discretion} A prettie court-wager! would any discreet person hazard his wit, so ? 210 Pha. rie lay a discretion, with you, Anaides. Ana. Hang 'hem. Tie not venter a doibt of discretion, on eyther of their heads. Cri. No, he should venter all then. Ana. I like none of their playes. A char or. Hed. See, see, this is strange play! Ana. 'Tis too full of vncertaine motion. He hobbles too much. Cri. 'Tis call'd your court-staggers, sir. Hed. That same fellow talkes so, now he has a place. 220 Ana. Hang him, neglect him. Mer. Yotir good ladiships affectioned. sc, iiii] Cynthias Revels 115 WiF. Gods so! they speake at this weapon, brother! A so. They must doe so, sister, how should it bee the better Reguard, else? Pha. Me thinkes, hee did not this respectiuely inough. ^25 Phi. Why, the Monsieur but dallies with him. Hed. Dallies? Slight see, hee'l put him too't, in earnest. Well done, Amorphvs. Ana. That puffe was good indeed. Cri. Gods mee! This is desperate play. Hee hits 230 himselfe o'the shinnes. Hed. And he make this good through, he carries it, I warrant him. Cri. Indeed he displayes his feet, rarely. Hed. See, see; Hee do's the respediue Leere damnably 235 well. A MO. The true idolater of your beauties, shall neuer passe their deities vnadored : I rest your poore knight. Hed. See, now the oblique leere, or the I anus : He satis- [245] fies all, with that aspect, most nobly. 240 Cri. And most terribly he comes off: like your Rodo- a flourish. mantada. Pha. How like you this play. An aides? Ana. Good play; but 't is too rough, and boisterous. Amo. I will second it with a stroke easier, wherein =45 I will prooue his language. Ana. This is filthie, and graue, now. a charge. Hed. O, 't is coole, and warie play. Wee must not disgrace our owne camerade, too much. Amo. Signora, ho tanto obligo per ye fauore re^ciuto da 250 lei; che veramente dessidero con tutto il core, d remimerarla in parte: & sicuratiue signora mea cara, chi iosera sempre pronto a seruirla, & honoraria. Bascio le mane de vo' signoria. 250 ye] le G 252 S-] e G H2 ii6 Cynthias Revels [act v 255 Cri. The Venetian Dop this. Pha. Most vnexspectedly excellent! The French goes downe certaine. A so. As buckets are put downe into a well; Or as a schoole-hoy. 260 Cri. Trusse vp your simile, lacke-daw, and obserue. Hed. Now the Monsieur is nrioou'd. Ana. Boe-peepe. Hed. O, most antique. Cri. The french Quirke, this sir. 265 Ana. Heart, he will ouer-runne her! Mer. Madamoyselle, le voudroy que pouuoy monstrer mon affection, mais ie suis tant mat heureuse, ci froid, ci layd, ci Ie ne scay qui di dire excuse may, Ie suis A flourish. tOUt VOStre. 270 Phi. O braue, and spirited! Hee's a right louialist. Phi. No, no: Amorphvs grauitie outwaies it. Cri. And yet your ladie, or your feather would out- weigh both. Ana. What's the prize, ladie, at this better Reguard? 275 MoR. AFace fauourably simpring, a-iid a fannewauing. Ana. They haue done doubtfully. Diuide. Giue the fauourable Face to the Signior, and the light waue to the Monsieur. A MO. You become the simper, well, ladie. 280 Mer. And the wag, better. A MO. Now, to our solemne Addresse. Please the well- grac'd Philavtia to relieue the ladie sentinell; shee hath stood long. Phi. With all my hesivt, come, Guardian. Resigneyour 28s place. A MO. Monsieur, furnish your selfe with what solemni- tie of ornament you thinke fit for this third weapon; at 284 [Moria comes from the state. sc. mi] Cynthias Revels 117 which you are to shew all the cunning of stroke, your deuotion can possibly deuise. Mer. Let me alone, sir. He sufficiently decipher your 29° amorous solemnities. Crites, haue patience. See, if I hit not all their practicke obseruance, with which they lime twigs, to catch their phantasticke ladiebirds. Cri. I, but you should doe more charitably, to doe it [246] more openly ; that they might discouer themselues mockt 295 in these monstrous affections. Mer. Lacquay, where's the taylor? A charge. Tay. Heere, sir. Hed. See, they haue their Taylor, Barber, Perfumer, Millaner, leweller, Feather-maker, all in common! 3°° Ana. I, this is prettie. Amo. Here is a haire too much, take it off . Where are They make thy mullets} them sehces -' _ readie on the Mer. Is this pinke of equall proportion to this zvX, stage. standing of this distance from it ? 305 Tay. That it is, sir. Mer. Is it so, sir, you impudent PouUroun} you slaue, you list, you shreds, you. Hed. Excellent. This was the best, yet. Ana. S'foot, we must vse our taylors thus. This is 310 your true magnanimitie. Mer. Come, goe to : put on. Wee must beare with you, for the times sake. Amo. Is the perfume rich, in this jerkin? Per. Taste, smell; I assure you sir, pure beniamin, the 31s onely spirited sent, that euer awak'd a neapolitane nostrill. You would wish your selfe all nose, for the loue ont. I frotted a jerkin, for a new-reuenu'd gentleman, yeelded me threescore crownes, but this morning, and the same titillation. 320 297 Enter Tailor, Barber, Perfumer, Milliner, Jeweler, and Feather-maker. G 308 [Beats the Tailor. G ii8 Cynthias Revels [act v A MO. I sauour no sampsuchine, in it. Per. I am a nulU-fidian, if there be not three thirds of a scruple more of sampsuchinum, in this confection, then euer I put in any. He tell you all the ingredients, sir. 32s A MO. You shall be simple, to discouer your simples. Per. Simple? why sir? what recke I to whom I dis- couer ? I haue in it, muske, ciuet, amber, phcenicohalanus , the decoction of iurmericke, sesama, nard, spikenard, cala- mus odoratus, stacte, opobalsamum, amomum, storax, lada- 33° num, aspalathiim, opponax, oenanthe. And what of all these now ? what are you the better ? Tut, it is the sorting, and the diuiding, and the mixing, and the temprmg, and the searcing, and the decocting, that makes the fumiga- tion, and the suffumigation. 335 A MO. Well, indue me with it. Per. I will, sir. Hed. An excellent confection. Cri. And most worthie a true voluptarie. Iove! what a coyle these muske-wormes take, to purchase 340 anothers delight? for, themselues, who beare the odours. haue euer the least sence of them. Yet, I doe like better the prodigalitie of jewels, and clothes, whereof one passeth to a mans heires; the other, at least weares out time: This presently expires, and without continuall riot in repara- 345 tion is lost : which who so striues to keep, it is one speciall argument to me, that (affecting to smell better then other men) he doth indeed smell farre worse. [247] Mer. I know, you will say it sits well, sir. Tay. Good faith, if it doe not, sir, let your Mistris 350 be judge. Mer. By heauen, if my Mistris doe not like it, I'le make no more conscience to vndoe thee, then to vndoe an oyster. sc. iiii] Cyntkias Revels 119 Ta Y. Beleeue it, sir, there's ne're a Mistris i' the world can mishke it. 35s Mer. No, not goodwife Taylor, your Mistris; that has onely the iudgement to heat your pressing toole. But for a court -Mistris, that studies these decorums, and knowes the proportion of euerie cut, to a haire, knowes why such a colour, is cut vpon such a colour, and, when a satten is 360 cut vpon six taffataes, wil looke that we should diue into the depth of the cut. Giue me my scarf fe. Shew some ribbands, sirra. Ha you the feather? Fei. I, sir. Mer. Ha'you the Jewell? 36s Iew. Yes, sir. Mer. What must I giue for the hire on't ? Iew. You'le giue me six crownes, sir? Mer. Sixe crownes ? By heauen 'twere a good deed to borrow it of thee, to shew: and neuer let thee haue it 370 againe. Iew. I hope your worship will not doe so, sir. Mer. By Iove, sir, there bee such trickes stirring, I can tell you, and worthily too. Extorting knaues! that Hue by these Court-decorums, and yet, What's your 375 Jewell worth, I pray? Iew. a hundred crownes, sir. Mer. a hundred crownes? And sixe for the loane on't an houre ? WHiat's that i' the hundred for the yeere ? These impostors would not bee hang'd ? your thiefe is not 380 comparable to 'hem, by Hercvles, well, put it in, and the feather. You will ha't, and you shall; and the poxe giue you good on't. Amo. Giue mee my confects, my moscardini, and place those colours in my hat. 385 Mer. These are holognian ribbands, I warrant you? Mil. In truth, sir : if they be not right granado silke Mer. a poxe on you, you'le all say so. 120 Cynthias Revels [act v Mil. You giue me not a pennie, sir. 390 Mer. Come sir, perfume my deuant; May it ascend, like solemne sacrifice, into the nostrils of the Qiieene of Loue. Hed. Your french ceremonies are the best. Ana. Monsieur, Signior, 3^our solemne Addresse is too 395 long. The ladies long to haue you come on. A MO. Soft, sir, our comming on is not so easily pre- par'd. Signior Fig. Per. I, sir. A MO. Can you helpe my complexion, heere? 400 Per. O yes, sir, I haue an excellent mineral Fuciis, for the purpose. The gloues are right, sir, you shall burie 'hem in a mucke-hill, a draught, seuen yeeres, and take 'hem out, and wash 'hem, the}- shall still retame their [248] first sent, true Spanish. There's amhre i'the vmbre. 405 Mer. Your price, sweet Fig. Per. Giue me what you will, sir : The Signior payes me two crownes a paire, you shall giue me 3^our loue, sir. Mer. My loue? \dth a pox to you, goodman sasafras. Per. I come, sir. There's an excellent diapasme in a 410 chaine too, if you like it. A MO. Stay, what are the ingredients to your fncus? Per. Nought, but sublimate, and crude mercurie, sir, well prepar'd, and dulcified, with the jaw-bones of a sow, burnt, beaten, and searced. 415 A MO. I approue it. Lay it on. Mar. He haue your chaine of pomander, sirrah; what's your price ? Per. Wee'le agree. Monsieur; He assure you, it was both decocted, and dried, where no sun came, and kept 420 in an onyx euer since it was ball'd. Mer. Come, inuert my mustachio, and we haue done. A MO. 'Tis good. Bar. Hold still I pray you, sir. sc. iiii] Cynthias Revels 121 Per. Nay, the fucus is exorbitant, sir. Mer. Death! doost thou burne me, Harlot? 42s Bar. I beseech you, sir. Mer. Begger, Varlet, Poultroun} a flourish, Hed. Excellent, excellent! Ana. Your french Beate is the most naturall beate of the world. 430 A so. O, that I had plaid at this weapon! Pha. Peace, now they come on; the second part. a charge, A MO. Madame, your beauties, being so attractiue, I muse you are left thus, alone. Phi. Better be alone, sir; then ill-accompanied. A MO. Nought can be ill, ladie, that can come neere 435 your goodnesse. Mer. Sweet Madame, on what part of you soeuer a man casts his eye, he meets with perfection; you are the liuely image of Venvs, throughout; all the Graces smile in your cheeks; your beautie nourishes, as well 440 as delights; you haue a tongue steep't in honie; and a breath like a panther: your brests and forehead are whiter then gotes milke, or M^y-blossomes ; a cloud is not so soft as your skinne. Hed. Well strooke. Monsieur : Hee- charges like a 445 Frenchman indeed, thicke, and hotly. Mer. Your cheekes are Cvpids baths, wherein hee vses to steepe himselfe in milke, and nectar: Hee do's light all his torches at your eyes, and instructs you how to shoot, and wound, with their beames. Yet I loue noth- 450 ing, in you, more then your innocence; you retaine so natiue a simplicitie, so vnblam'd a behauiour. Mee thinkes, with such a loue, I should find no head, nor foot of my pleasure: You are the verie spirit of a ladie. Ana. Faire play. Monsieur} you are too hot on the 455 quarrie. Giue your competitor audience. 428 \Bmis him. G 122 Cynthias Revels [act v [249] A MO. Lady, how stirring soeuer the Monsieurs tongue is, hee will lie by your side, more dull then your eunuch. Ana. a good stroke; That mouth was excellently 460 put ouer. A MO. You are faire, lady Cri. You offer foule, Signior, to close. Keepe your distance; for all your Brauo rampant, here. A MO. I say you are faire, lady, let your choice be fit, 465 as you are faire. Mer. I say, ladies doe neuer beleeue they are faire, till some foole begins to dote vpon 'hem. Phi. You play too rough, gentlemen. A MO. Your frenchi/ied foole is your onely foole, lady: 470 1 doe yeeld to this honorable Monsieur, in all ciuill, and humane courtesie. A flourish. Mer. Buzze. Ana. Admirable. Giue him the prize. Giue him the prize; That mouth, againe, was most courtly hit, and 475 rare. A MO, I knew, I should passe vpon him with the hitter Boh. Hed. O, but the Reuerse was singular. Pha. It was most subtile, Amorphvs. 480 A so. If I had don't, it should haue beene better. Mer. How heartily they applaud this, C rites! Cri. You suffer 'hem too long. Mer. rie take off their edge instantly. Ana. Name the prize, at the solemne Addresse. 485 Phi. Two lips wagging. Cri. And neuer a wise word; I take it. Ana. Giue to Amorphvs. And, vpon him, againe; let him not draw free breath. A MO. Thankes, faire deliuerer, and my honorable 490 iudges, Madame P HAN TASTE, you are our worthy obiect at this next weapon. sc. iiii] Cynthias Revels 123 Pha. Most couetingly ready, Amorphvs. Hed. Your Monsieur is crest-falne. Ana. So are most of 'hem once a yeere. A MO. You will see, I shall now giue him the gentle dor, 495 presently, hee forgetting to shift the colours, which are now chang'd, with alteration of the Mistris. At your last weapon, sir. The perfect Close. Set forward, intend your approch. Monsieur. A charge. Mer. 'Tis yours, Signior. 500 A MO, With your example, sir. Mer. Not I, sir. A MO. It is your right. Mer. By no possible meanes. A MO. You haue the way. 505 Mer. As I am noble A MO. As I am vertuous Mer. Pardon me, sir. A MO. I will die first, [250] Mer. You are a tyranne in courtesie. 510 A MO. He is remou'd ludges beare witnesse. Mer. What of that, sir? Amorphus . states the other. A MO. You are remou d, sir, „„ hismoumg. Mer. Well. Amo. I challenge you; you haue receiued the dor. 515 Giue me the prize. Mer. Soft, sir. How, the dor ? Amo. The common Mistris, you see, is changed. Mer. Right, sir. Amo. And you haue still in your hat the former 520 colours. Mer. You lie, sir, I haue none: I haue puU'd 'hem out. I meant to play discolour'd. Cri. The dor, the dor, the dor, the dor, the dor\ the palpable dor. 525 492 [>SAe takes the. state instead of Philautia. G 124 Cynthias Revels [act v A flourish. Ana. Heart of my bloud, Amorphvs, what ha' you done? Stuck a disgrace vpon vs all, and at your last weapon A so. I could haue done no more. 530 Hed. By heauen, it was most vnfortunate lucke. Ana. Lucke! by that candle, it was meere rashnesse, and ouer-sight, would any man haue venterd to play so open, and forsake his ward? Dam' me if he ha' not eternally vndone himselfe, in court ; and discountenanc'd 535 vs, that were his maine countenance, by it. A MO. Forgiue it, now. It was the soloecisme of my starres. Cri. The Wring by the hand, and the Banquet is ours. Mer. O, here's a lady, feeles like a wench of the first 540 yeare ; you would thinke her hand did melt in your touch ; and the bones of her fingers ran out at length, when you prest 'hem, they are so gently delicate ! Hee that had the grace to print a kisse on these lips, should taste wine, & rose-leaues. O, shee kisses as close as a cockle. Let's 545 take 'hem downe, as deepe as our hearts, wench, till our very soules mixe. Adieu, Signior. Good faith, I shall drinke to you at supper, sir. Ana. Stay, Monsieur. Who awards you the prize! Cri. Why, his proper merit, sir: you see hee has plaid 550 downe your grand garbe-Master, here. Ana. That's not in your logicke to determine, sir: you are no courtier. This is none of your seuen, or nine begger- ly sciences, but a certaine mysterie aboue 'hem, wherein wee that haue skill must pronounce, and not such fresh- 555 men as you are. Cri. Indeed, I must declare my selfe to you no profest courtling ; nor to haue any excellent stroke, at your subtile weapons: yet if you please, I dare venter a hit with you, or your fellow, sir Dagonet, here. 560 Ana. With me? sc. I III] Cynthias Revels 125 Cri. Yes, sir. Ana. Heart, I shall neuer haue such a fortune to saue my selfe in a fellow againe, and your two reputations, gentlemen, as in this. I'le vndertake him. Hed. Doe, and swinge him soundly, good An aides. [251] Ana. Let mee alone, I'le play other manner of play, then has beene seene, yet. I would the prize lay on't. Mer. It shall if you will, I forgiue my right. Ana. Are you so confident? what's your weapon? Cri. At any, I, sir. 57° Mer. The perfect Close, That's now the best. Ana. Content, I'le pay your scholaritie. Who offers? Cri. Mary, that will I. I dare giue you that aduantage, too. Ana. You dare? Well, looke to your liherall skonce. 575 A MO. Make your play still, vpon the answere, sir. Ana. Hold your peace, you are a hobby-horse. A so. Sit by me. Master. Mer. Now C rites, strike home. Cri. You shall see me vndoe the assur'd swaggerer 580 with a tricke, instantly : I will play all his owne play before him ; court the wench, in his garbe, in his phrase, with his face; leaue him not so much as a looke, an eye, a stalke, or an imperfect oth, to expresse himselfe by, after me. Mer. Excellent, C rites. 585 Ana. When begin you, sir? Haue you consulted? a charge. Cri. To your cost, sir; which is the Peece, stands forth to bee courted ? O, are you shee ? Well, Madame, or sweet lady, it is so, I doe loue you in some sort, doe you conceiue ? and though I am no Monsieur, nor no Signior, 590 and do want (as they say) logicke and sophistrie, and good words, to tell you why it is so; yet by this hand, and by that candle, it is so; And though 1 bee no booke-worme, 584 [Aside to Mercury. G 588 she ? [to Philautia.] O 126 Cynthias Revels [act v nor one that deales by arte, to giue you rhetorike, and 595 causes, why it should be so, or make it good it is so, yet dam' me, but I know it is so, and am assur'd it is so, and I and my sword shall make it appeare it is so ; and giue you reason sufficient, how it can be no otherwise, but so Hed. S'light, An AIDES, you are mockt; and so we 600 are all. Mer. How now, Signior! What, suffer your selfe to bee cossen'd of your courtship, before your lace ? Hed. This is plaine confederacy, to disgrace vs: Let's bee gone, and plot some reuenge. 60s A MO. When men disgraces share, The lesser is the care. Cri. Nay stay, my deare Ambition, I can doe you ouer too. You that tell your Mistris, Her beautie is all com- posde of theft; Her haire stole from Apollo's goldy- 610 locks ; Her white and red, lillies, and roses stolne out of paradise ; Her eyes, two starres, pluckt from the skie ; Her nose, the gnomon of Loues diall, that tells you how the clocke of your heart goes : And for her other parts, as you cannot reckon 'hem, they are so many; so you cannot 615 recount them, they are so manifest. Yours, if his owne, ^7?o?^rM/?. vnfortunate Hoyden, in stead of He don. [252] A so. Sister, come away, I cannot endure 'hem longer. Mer. Goe, Dors, and you, my Madame Courting-stocks, Follow your scorned, and derided mates; 620 Tell to your guiltie brests, what meere guilt blocks You are, and how vnworthy humane states. Cri. Now, sacred god of wit, if you can make Those, whom our sports taxe in these apish graces, Kisse (like the fighting snakes) your peacefull rod; 625 These times shall canonize you for a god. Mer. Why, C rites, thmke you any noble spirit 607 Ambition, [to Hedon] G 617 [Exeunt all but Mercury and Crites. O sc. iiii] Cynthias Revels 127 Or any, worth the title of a man, Will be incenst, to see th'inchaunted vailes Of selfe-conceit, and seruile flatterie (Wrapt in so many folds, by time, and custome) 63° Drawne from his wronged, and bewitched eyes ? Who sees not now their shape, and nakednesse. Is blinder then the sonne of earth, the mole* Crown'd with no more humanitie, nor soule. Cri. Though they may see it, yet the huge estate 635 Phansie, and forme, and sensuall pride haue gotten, Will make them blush for anger, not for shame; And turne shewne nakednesse, to impudence. Humour is now the test, we trie things in; All power is iust: Nought that delights is sinne. 640 And, yet the zeale of euery knowing man, (Opprest with hills of tyrannic, cast on vertue By the light phant'sies of fooles, thus transported) Cannot but vent the A^tna of his fires, T'enflame best bosomes, with much worthier loue 645 Then of these outward, and effeminate shades: That, these vaine ioyes, in which their wills consume Such powers of wit, and soule, as are of force To raise their beings to geternitie. May be conuerted on workes, fitting men. 630 And, for the practice of a forced looke. An antique gesture, or a fustian phrase, Studie the natiue frame ot a true heart, An mward comelinesse of bountie, knowledge, And spirit, that may conforme them, actually, 655 To Gods high figures, which they haue in power: Which to neglect for a selfe-louing neatnesse. Is sacrilege, of an vnpardon'd greatnesse. M E R. Then let the truth of these things strengthen thee, In thy exempt, and only man-like course: 660 Like it the more, the lesse it is respected; 128 Cynthias Revels [act v J253] Though men faile, vertue is by gods protected. See, here comes Arete, I'le with-draw my selfe. ^cf V. Scene v. Arete, Crites. CRiTES, you must prouide strait for a masque, 'TisCvNTHiAS pleasure. Cri. How, bright Arete! Why, 'twere a labour more for Hercvles. Better, and sooner durst I vnder-take 5 To make the different seasons of the yeere, The windes, or elements to sympathize. Then their vn measurable vanitie Dance truely in a measure. They agree? What though all concord's borne of contraries? ^o So many follies will confusion proue, And like a sort of jarring instruments. All out of tune: because (indeede) we see There is not that analogic, twixt discords, As betweene things but meerely opposite. 15 Are. There is your error. For as Hermes wand Charmes the disorders of tumultuous ghosts. And as the strife of Chaos then did cease. When better light then Natures did arriue: So, what could neuer in it selfe agree, 20 Forgetteth the eccentrike propertie. And at her sight, turnes forth- with regular. Whose scepter guides the flowing Ocean. And though it did not, yet the most of them (Being either courtiers, or not wholy rude) ^5 Respect of maiestie, the place, and presence, Will keepe them within ring; especially 663 [Exit. O SCENA. 6. Q Act . . . Crites.] Enter Arete. O 2 'Tis . . . pleasure.] om. Q How] A masque Q sc. v] Cynthias Revels 129 When they are not presented as themselues But masqu'd hke others. For (in troth) not so T'incorporate them, could be nothing else, Then like a state vngouern'd without lawes; 3» Or body made of nothing but diseases: The one, through impotency poore, and wretched. The other, for the anarchic absurd. Cri. But, ladie, for the reuellers themselues, It would be better (in my poore conceit) 35 That others were imploid: for such as are Vnfit to be in Cynthiaes court, can seeme No lesse vnfit to be in Cynthiaes sports. Are. That, C rites, is not purposed without [254] Particular knowledge of the Goddesse mind, 40 (Who holding true intelligence, what follies Had crept into her palace) shee resolu'd, Of sports, and triumphs, vnder that pretext. To haue them muster in their pompe, and fulnesse: That so shee might more strictly, and to roote, 45 Effect the reformation shee intends. Cri. I now conceiue her heauenly drift in all, And will apply my spirits, to serue her will. O thou, the very power, by which I am. And but for which, it were in vaine to be, so Chief e next Diana, virgin, heauenly faire, Admired Arete (of them admir'd, Whose soules are not enkindled by the sense) Disdaine not my chaste fire, but feede the flame Denoted truely to thy gracious name. ss Are. Leaue to suspect vs: C rites well shall find, As we are now most deare, wee'le proue most kind. 30 lawes; or Q 31 Or] A. Q 39 Crites . . . purposed] is not done (my Criticus) Q 48 her] thy Q 56 Crites well] Criticus Q 51 Arete Within. Q kind. \_WitMn.'\ Arete! G I 130 Cynthias Revels [act V Harke, I am call'd. Cri. I follow instantly. Phcebvs Apollo: if with ancient rites, 6° And due deuotions, I haue euer hung Elaborate pceans, on thy golden shrine, Or sung thy triumphs in a loftie straine, Fit for a theater of gods to heare; And thou, the other sonne of mighty Iove, 65 Cyllenian Mercvry (sweet Mai as ioy) If in the busie tumults of the mind, My path thou euer hast illumined. For which, thine altars I haue oft perfum'd, And deckt thy statues with discoloured flowres: 70 Now thriue inuention in this glorious court, That not of bountie only, but of right, Cynthia may grace, and giue it life by sight. Act V. Scene vi. Hespervs, Cynthia, Arete, Tyme, Phronesis, Thavma. Q The Hymne. |Veene, and Huntresse, chaste, and faire, Now the Sunne is laid to sleepe, [255] Seated, in thy siluer chaire, State in wonted manner keepe: 5 Hespervs intreats thy light, Goddesse, excellently bright. Earth, let not thy enuious shade Dare it selfe to interpose; 58 Harke . . . call'd.] Arete. Harke, I am cald. Exit. Q 69 Statue Q 72 Exit. Q Finis Actus quarti. Q . ACTVS QVINTVS. SCENA. 1. Q SCENE III. Enter, etc. Music accompanied. Hesperus sings. O Hymnus. Q 1 Hesf. Q sc. vi] Cynthias Revels 131 Cy NTH I AS shining orbe was made Heauen to cleere, when day did close: Blesse vs then with wished sight, Goddesse, excellently bright. Lay thy bow of fearle apart, And thy cristall-shining quiuer; Giue vnto the flying hart Space to breathe, how short soeuer: Thou that mak'st a day of night, Goddesse, excellently bright. Cyn. When hath Diana, Hke an enuious wretch, That glitters onely to his soothed selfe, Denying to the world, the precious vse Of hoorded wealth, with-held her friendly aide? Monthly, we spend our still-repaired shine, And not forbid our virgin -waxen torch To burne, and blaze, while nutriment doth last: That once consum'd, out of Ioves treasurie A new we take, and sticke it in our spheare, To giue the mutinous kind of wanting men. Their look't-for light. Yet, what is their desert? "Bountie is wrong'd, interpreted as due; "Mortalls can challenge not a ray, by right, "Yet doe expect the whole of Cynthias light. But if that Deities with-drew their gifts. For humane follies, what could men deserue But death, and darknesse ? It behooues the high, For their owne sakes, to doe things worthily. Are. Most true, most sacred Goddesse; for the heauens Receiue no good of all the good they doe. Nor lovE, nor you, nor other heauenly power. Are fed with fumes, which doe from incense rise, 18 Exit. Q 34 could] should Q 12 132 Cynthias Revels [act v Or sacrifices reeking in their gore, Yet, for the care which you of mortalls haue, (Whose proper good it is, that they be so) You well are pleas'd with odours redolent: 45 But ignorant is all the race of men, Which still complaines, not knowing why, or when. [256] Cyn. Else, noble Arete, they would not blame, And taxe, for or vnjust, or for as proud. Thy Cynthia, in the things which are indeed 50 The greatest glories in our starrie crowne ; Such is our chastitie: which safely scornes (Not Loue, for who more feruently doth loue Immortall honour, and diuine renowne? But) giddie Cvpid, Venvs franticke sonne. 55 Yet Arete, if by this vailed light. Wee but discouer'd (what we not discerne) Any, the least of imputations stand Readie to sprinkle our vnspotted fame, With note of lightnesse, from these reuels neere: 60 Not, for the empire of the vniuerse, Should night, or court, this whatsoeuer shine, Or grace of ours vnhappily enjoy. "Place, and occasion are two priuie theeues; "And from poore innocent ladies often steale 65 "(The best of things) an honourable name: "To stay with follies, or where faults may be, "Infers a crime, although the partie free. Are. How Cynthian-ly (that is, how worthily And like herself e) the matchlesse Cynthia speakes! 70 Infinite iealousies, infinite regards, Doe watch about the true virginitie: But Phcebe hues from all, not onely fault. But as from thought, so from suspicion free. "Thy presence hroad-seales our delights for pure, 75 "What's done in Cynthias sight, is done secure. sc. vi] Cynthias Revels 133 Cyn. That then so answer'd (dearest Arete) What th'argument, or of what sort our sports Are like to be this night, I not demaund. Nothing which dutie, and desire to please Beares written in the forehead, comes amisse. ^° But vnto whose inuention, must we owe, The complement of this nights furniture? Are. Excellent Goddesse, to a mans, whose worth, (Without hyperbole,) I thus may praise; One (at least) studious of deseruing well, ss And (to speake truth) indeed deseruing well: "Potentiall merit stands for actuall, "Where onely oportunitie doth want, "Not will, nor power: both which in him abound. One, whom the Mvses, and Minerva loue. 9° For whom should they, then C rites, more esteeme, Whom Phcebvs (though not Fortune) holdeth deare? [257] And (which conuinceth excellence in him,) A principall admirer of your selfe. Euen, through th' vngentle injuries of fate, 9s And difficulties, which doe vertue choake, Thus much of him appeares. What other things Of farther note, doe lye vnborne in him, Them I doe leaue for cherishment to shew, And for a Goddesse graciously to judge. 100 Cyn. We haue alreadie judg'd him. Arete: Nor are we ignorant, how noble minds Suffer too much through those indignities. Which times, and vicious persons cast on them : Our selfe haue euer vowed to esteeme, 105 (As vertue, for it selfe, so) fortune base; Who's first in worth, the same be first in place. 83 a] om. Q 91 then . . . esteeme] more loue then Criticus Q 107 Who's] Who Q 134 Cynthias Revels [act v Nor farther notice (Arete) we craue Then thme approuals soueraigne warrantie: "o Let' be thy care, to make vs knowne to him, "Cynthia shall brighten, what the world made dimme. Act V. Scene v i i . The first Masque. Totkem. CvpiD, like Anteros. CLeare pearle of heauen, and, not to bee farther ambitious in titles, Cynthia. The fame of this illustrous night, among others, hath also drawne these foure faire virgins from the palace of their Queene Per- s fection (a word, which makes no sufficient difference, twixt hers, and thine) to visit thy imperiall court : for she, their soueraigne, not finding where to dwell among men, before her returne to heauen, aduised them wholy to consecrate themselues to thy celestiall seruice, as in whose lo cleere spirit (the proper element, and sphere of vertues) they should behold not her alone, (their euer honour' d mistris) but themselues (more truly themselues) to Hue inthroniz'd. Her selfe would haue commended them vnto thy fauour more particularly, but that shee knowes no IS commendation is more auaileable with them, then that of proper vertue. Neuerthelesse, she will'd them to present this christall mound, a note of monarchic, and symbole of perfection, to thy more worthie deitie; which, as heere by me they most humbly doe, so amongst the rarities thereof, 111 [Exit Arete. G SCENA. 2. THE FIRST MASQVE. Q Act . . . Anteros.] The First Masque. Enter Cupid disguised as Anteros, followed by Storge, Aglaia, Euphantaste, and Apheleia. G 1 Ante. Q 7 Soueraigne Lady Q 15 them] thee Q, thee 1692-G sc. vii] Cynthias Revels 135 that is the chiefe, to shew whatsoeuer the world hath ^o excellent, howsoeuer remote and various. But your ir- radiate iudgement will soone discouer the secrets of this little cristall world. Themselues (to appeare more plaine- ly) because they know nothing more odious, then false pretexts, haue chosen to expresse their seuerall qualities, ^s thus, in seuerall colours. [258] The first, in citron colour, is natural Affection, which giuen vs to procure our good, is somtime called Storge, & as euery one is neerest to himselfe, so this hand-maid of reason, allowable selfe-loue, as it is without harme, so are 30 none without it : Her place in the court of Perfection was to quicken mindes in the pursuit of honour. Her deuice is a perpendicular Leuell, vpon a Cube, or Square. The word, Se Svo Modvlo. Alluding to that true measure of ones selfe, which as euerie one ought to make, so is it 35 most conspicuous in thy diuine example. The second, in greene, is Aglai a, delectable and pleas- ant Conuersation, whose propertie is to moue a kindly delight, and sometime not without laughter: Her office, to entertaine assemblies, and keepe societies together 4° with faire familiaritie. Her deuice within a Ring of clouds, a Heart with shine about it. The Word, Cvrarvm Nv- BILA Pello. An allegorie of Cynthiaes light, which no lesse cleares the skie, then her faire mirth the heart. The third, in the discolour'd mantle spangled all ouer, 45 is EVPHANTASTE, a well conceited Wittinesse, and im- ployd in honouring the court with the riches of her pure inuention. Her deuice, vpon a Petasus, or Mercuriall hat, a Crescent. The Word, Sic Lavs Ingenii. Inferring, that the praise and glorie of wit, doth euer increase, as 50 doth thy growing moone. 23 the more Q 27 i The first Q 37 2 The second Q 38 is] it is Q 45 5 The third Q the] om. Q 136 Cynthias Revels [act v The fourth in white, is Apheleia, a Nymph as pure and simple as the soule, or as an abrase table, and is therefore called Simplicitie; without folds, without 55 pleights, without colour, without counterfeit: and (to speake plainly) Plainenesse it selfe. Her deuice is no deuice. The word vnder her siluer Shield, OmnisAbestFvcvs. Alluding to thy spotlesse selfe, who art as farre from im- puritie, as from mortalitie. 60 My selfe (celestiall Goddesse) more fit for the court of CvNTHiA, then the arbors of Cytheree, am call'd Anteros, or Loues enemie; the more welcome therefore to thy court, and the fitter to conduct this quaternion, who as they are thy professed votaries, and for that cause 65 aduersaries to Loue, yet thee (perpetuall Virgin) they both loue, and vow to loue eternally. N ^ct V. Scene v 1 1 i . Cynthia, Arete, Crites. Ot without wonder, nor without delight, Mine eyes haue view'd (in contemplations depth) This worke of wit, diuine, and excellent: What shape ? what substance ? or what vnknowne power 5 In virgins habite, crown'd with lawrell leaues, And oliue branches wouen in betweene. On sea-girt rockes, like to a Goddesse shines? O front ! face ! all caelestiall sure, [259] And more then mortall! Arete, behold 10 Another Cynthia, and another Queene, Whose glorie (like a lasting plenilune) Seemes ignorant of what it is to wane! 52 4 The fourth Q 63 Quaternio Q 8CENA. 3. Q Act . . . Crites.] Re-enter Arete, with Crites. G 1 Cynthia. Q 7 Rocke Q sc. viii] Cynthias Revels 137 Not vnder heauen an obiect could be found More fit to please. Let Crites make approch. Bountie forbids to paule our thankes with stay. Or to deferre our fauour, after view: "The time of grace is, when the cause is new. Are. Loe, here the man (celestiall Delia) Who (like a circle bounded in it selfe) Contaynes as much, as man in fulnesse may. Loe, here the man, who not of vsuall earth, But of that nobler, and more precious mould. Which Phcebvs selfe doth temper, is compos'd; And, who (though all were wanting to reward) Yet, to himselfe he would not wanting be: Thy fauours gaine is his ambitions most. And labours best; who (humble in his height) Stands fixed silent in thy glorious sight. Cyn. With no lesse pleasure, then we haue beheld This precious christall, worke of rarest wit. Our eye doth reade thee (now enstil'd) our Crites; Whom learning, vertue, and our fauour last, Exempteth from the gloomy multitude. "With common eye the supreme should not see. Henceforth be ours, the more thy selfe to be. Cri. Heau'ns purest light, whose orbe may be eclips'd, But not thy praise (diuinest Cynthia) How much too narrow for so high a grace. Thine (saue therein) the most vn worthy Crites Doth find himselfe! for euer shine thy fame; Thine honours euer, as thy beauties doe; In me they must, my darke worlds chiefest lights. By whose propitious beames my powers are rais'd To hope some part of those most loftie points, 14 Crites make] Criticus Q 31 enstil'd) our Crites] our CriticusQ 39 Thy] Q the . . . Crites] vnworthy Criticus Q 138 Cynthias Revels [act v 45 Which blessed Arete hath pleas'd to name, As markes, to which m' indeuours steps should bend: Mine, as begun at thee, in thee must end. [260] Act V. Scene i x. The second Masque. Mercvrie, as a Page. Olster of Phcebvs, to whose bright orbe we owe, that we not complaine of his absence; These foure brethren (for they are brethren, and sonnes of Ev- TAXIA, a lady knowne, and highly belou'd of your 5 resplendent deitie) not able to be absent, when Cynthia held a solemnitie, officiously msinuate themselues into thy presence: For, as there are foure cardinall vertues, vpon which the whole frame of the court doth moue, so are these the foure cardinall properties, without which, 1° the body of complement moueth not. With these foure siluer iauelins (which they beare in their hands) they sup- port in Princes courts the state of the presence, as by office they are obliged; which, though here they may seeme superfluous, yet, for honors sake, they thus pre- '5 sume to visite thee, hauing also beene emploid in the palace of Queene Perfection. And though to them, that would make themselues gracious to a Goddesse, sacrifices were fitter then presents, or Impreses, yet they both hope thy fauour, and (in place of either) vse seuerall Symboles, 2o contayning the titles of thy imperiall dignitie. First, the hethermost, in the changeable blew, andgreene robe, is the commendably-fashioned gallant, Evcos- 46 to] om. Q my 'ndeuors Q 8CENA. 4. THE SECOND MA8QVE. Q Act . . . Page.] The Second Masque. Enter Mercury as a page, introducing Eucosmos, Eupathes, Eutolmos, and Eucolos. G 1 Mar. Q 21 First] 1 Q 22 fashionate Q sc. ix] Cynthias Revels 139 Mos; whose courtly habite is the grace of the presence, and dehght of the surueying eye : whom ladies vnderstand by the names of neate, and elegant. His Symhole is, Divae ^s ViRGiNi, in which he would expresse thy deities princi- pall glory, which hath euer beene virginitie. The second, in the rich acoutrement, and robe of purple, empaled with gold, is Evpathes; who enter- taynes his mind with an harmelesse, but not incurious 30 varietie : All the obiects of his senses are sumptuous, him- self e a gallant, that, without excesse, can make vse of superfluitie : goe richly in imbroideries, iewells (and what not ?) without vanitie, and fare delicately without glutt- onie : and therefore (not without cause) is vniuersally 35 thought to be of fijie humour. His Symhole is, Divae Optimae. An attribute to expresse thy goodnesse, in which thou so resemblest Iove thy father. The third, in the blush-colour 'd sute, is, Evtolmos, as duely respecting others, as neuer neglecting himselfe; 40 commonly knowne by the title of good audacitie: to courts, and courtly assemblies, a guest most acceptable. His Symhole is, Divae Viragini. To expresse thy hardy courage, in chase of sauage beasts, which harbour in woods, and wildernesse. 45 The fourth, in watchet tinsell, is the kind, and truly benefique EvcoLOS. Who imparteth not without re- spect, but yet without difficultie; and hath the happinesse to make euery kindnesse seeme double, by the timely, and [261] freely bestowing thereof. He is the chiefe of them, who 5° (by the vulgar) are said to be of good nature. His Symhole is, Divae Max I MAE. An adiunct to signifie thy great- nesse, which in heauen, earth, and hell is formidable. 28 2 The second Q 33 superfluities Q Imbroyders Q 39 3. The third Q 46 4. The fourth Q 140 Cynthias Revels [act v Act V. See fie x. The Masques CVPID, MeRCVRIE. oyne, and thev dance. ' TS Hot that Amorphvs, the trauailer? J- Mer. As though it were not! doe you not see how his legs are in trauaile with a measure? Cvp. Hedon, thy master is next. 5 Mer. What, will Cvpid turne nomendator , and cry them? Cvp. No faith, but I haue a comedie toward, that would not be lost for a kingdome. Mer. In good time, for Cvpid will proue the comedie. 10 Cvp. Mercvry,! am studying how to match them. Mer. How to mis-match them were harder. Cvp. They are the Nymphs must doe it, I shall sport my selfe with their passions aboue measure. Mer. Those Nymphs would be tam'd a little, mdeed, 15 but I feare thou hast not arrowes for the purpose. Cvp. O, yes, here be of all sorts, flights, rouers, and butt-shafts. But I can wound with a brandish, and neuer draw bow for the matter. Mer. I cannot but beleeue it, my inuisible archer, and 20 yet me thmks you are tedious. Cvp. It behoues me to be somewhat circumspect, Mercvry; for if Cynthia heare the twang of my bow, shee'le goe neere to whip mee with the string: therefore, to preuent that, I thus discharge a brandish vpon -it 25 makes no matter which of the couples. Phantaste, and Amorphvs, at you. Mer. Will the shaking of a shaft strike 'hem into such a feuer of affection? SCENA. 5. Q Act . . . Mercvrie.] Music. A Dance by the two Masques joined, during which Cdpid and Mercury retire to the side of the stage. G 1-2 (margin) and they dance.] om. Q 1 Cwp. Q 12 They are] It isQ 26 [ Waves his arrow at them. G sc. x] Cynthias Revels 141 Cvp. As well as the wincke of an eye: but I pray thee, hinder me not with thy prattle. 3° Mer. Iove forbid I hinder thee. Mary, all that I feare, is Cynthias presence; which, with the cold of her chastitie, casteth such an antiperistasis about the place, that no heate of thine will tarry with the patient. Cvp. It will tarry the rather, for the antiperistasis will 35 keepe it in. Mer. I long to see the experiment. Cvp. 'W'Tiy, their marrow boiles already, or they are all turn'd eunuchs. Mer. Nay, and't bee so, I'le giue ouer speaking, and +° bee a spectator onely. '^J^'y ^'^'^f -I • 1 1 \ • • 1 • danced the Amo. Cynthia (by my bright soule) is a right exquis- first straine. ite, and splendidious lady; yet Amorphvs, I thinke, [262] hath seene more fashions, I am sure more countries: but whether I haue, or not, what neede wee gaze on Cyn- 45 thia, that haue our selfe to admire? Pha. O, excellent Cynthia! yet if Phantaste sate where shee doo's, and had such a tire on her head (for attire can doe much) I say no more — but goddesses are goddesses, and Phantaste is as shee is! I would the 50 reuells were done once, I might goe to my schoole of glasse, againe, and learne to doe my selfe right after all this ruffling. Mer. How now, Cvpid? here's a wonderfull change with your brandish! doe you not heare, how they dote? 55 Cvp. What prodigie is this? no word of loue? no mention ? no motion ? Mer. Not a word, my little Ignis fatue, not a word. Cvp. Are my darts inchaunted ? Is their vigour gone ? is their vertue 6» 41 {margin) haue danced the first] daunce the 1 45 not] no Q 53 iMusic: they begin the second dance. G 58 Ignis fatue] Hell- fire Q 142 Cynthias Revels [act v Mer. What? CvpiD turn'd iealous of himself e? ha, ha, ha. Cvp. Laughs Mercvry? Mer. Is Cvpid angrie? 65 Cvp. Hath he not cause, when his purpose is so deluded ? Mer. a rare comoedie, it shall be intitled, Cvpid s. Cvp. Doe not scorne vs, Hermes. Mer. Choller, and Cvpid, are two fiery things; I scome 'hem not. But I see that come to passe, which 70 1 presag'd in the beginning. Cvp. You cannot tell: perhaps the physicke will not worke so soone vpon some, as vpon others. It may be, the rest are not so resty. Mer. Ex vngue, you know the old adage, as these, so 75 are the remainder. Cvp. rie trie: this is the same shaft, with which I wounded Argvrion. Mer. I, but let mee saue you a labour, Cvpid: there were certayne bottles of water fetcht, and drunke off 80 (since that time) by these gallants. Cvp. lovE, strike me into earth: The Fountayne of selfe-Loue ! Mer. Nay, faint not, Cvpid. Cvp. I remembred it not. £5 Mer. Faith, it was ominous to take the name of Anteros vpon you, you know not what charme or inchantment lies in the word : you saw, I durst not venter vpon any deuice, in our presentment, but was content to be no other then a simple page. Your arrowes properties 90 (to keepe decorum) Cvpid, are suted (it should seeme) to the nature of him you personate. Cvp. Indignitie not to be borne. Mer. Nay rather, an attempt to haue beene forborne. 77 [Waives his arrow again. G sc. xi] Cynthias Revels ■ 143 Cvp. How might I reuenge my selfe on this insulting The second Mercvry? there's C rites, his minion, he has not ^*^^^'^^- tasted of this water. It shall be so. Is Crites turn'd dotard on himselfe too? Mer. That foUowes not, because the venome of your shafts cannot pierce him, Cvpid. Cvp. As though there were one antidote for these, and [263] another for him ? Mer. As though there were not! or as if one effect might not arise of diuers causes? What say you to Cynthia, Arete, Phronesis, Time, and others there ? 105 Cvp. They are diuine. Mer. And Crites aspires to be so. Cvp. But that shall not serue him. Mer. 'Tis like to doe it, at this time. But Cvpid is growne too couetous, that will not spare one of a multitude, "o Cvp. One is more then a multitude. Mer. Aretes fauour makes any one shot-proofe The third • stfaific agamst thee, Cvpid. I pray thee, light hony-bee, re- member thou art not now in Adonis garden, but in Cynthias presence, where thornes lie in garrison about "s the roses. Soft, Cynthia speakes. L Act V. Scene x i . Cynthia, Arete, Crites, Masqvers. Adies, and gallants of our court, to end, And giue a timely period to our sports, Let vs conclude them with declining night; 94 (margin) The . . . straine.] They daunce the 2. straine. Q 96 water, [waves his arrow at Crites.] 99 Cvpid] om. Q 109 it] prettily well Q 112 {margin) The . . . straine.] They daunce the 3. straine. Q Act . . . Masqvers.] om. Q,G 1 Cynthia Q of . . . end] om. Q 2 And] To Q 144 Cynthias Revels [act v Our empire is but of the darker halfe. 5 And if you iudge it any recompence For your faire paines, t'haue earn'd Dianas thankes, Diana grants them: and bestowes their crowne To gratifie your acceptable zeale. For you are they, that not (as some haue done) lo Doe censure vs, as too seuere, and sowre, But as (more rightly) gracious to the good; Although we not denie, vnto the proud, Or the prophane, perhaps indeede austere: For so AcTAEON, by presuming farre, 15 Did (to our grief e) incurre a fatall doome; And so, swolne Niobe (comparing more Then he presum'd) was trophaeed into stone. But are we therefore judged too extreme? Seemes it no crime, to enter sacred bowers, 20 And hallowed places, with impure aspect. Most lewdly to pollute ? Seemes it no crime, To braue a deitie ? Let mortals learne To make religion of offending heauen; [264] And not at all to censure powers diuine. 25 To men, this argument should stand for firme, "A Goddesse did it, therefore it was good: "We are not cruell, nor delight in bloud. But what haue serious repetitions To doe with reuels, and the sports of court ? 30 We not intend to sowre your late delights With harsh expostulation. Let 't suffice, That we take notice, and can take reuenge Of these calumnious, and lewd blasphemies. For we are no lesse Cynthia, then we were, 35 Nor is our power (but as our selfe) the same: Though we haue now put on no tyre of shine, 11 as] are Q sc. xi] Cynthias Revels 145 But mortali eyes vndaz'led may indure. "Yeeres are beneath the spheres: and time makes weake "Things vnder heauen, not powers which gouerne heauen. And though our selfe be, in our selfe, secure, 4° Yet let not mortals challenge to themselues Immunitie from thence. Loe, this is all: "Honour hath store of spleene, but wanteth gall. Once more, we cast the slumber of our thankes On your ta'ne toile, which here let take an end. 45 And that we not mis-take your seuerall worths, Nor you our fauour, from your selues remooue What makes you not your selues, those cloudes of masque : "Particular paines, particular thankes doe aske. How ! let me view you ! ha ? Are we contemn'd ? rnZque' Is there so little awe of our disdaine, That any (vnder trust of their disguise) Should mixe themselues with others of the court ? And (without forehead) boldly presse so far. As farther none ? How apt is lenitie ss To be abusde ? seueritie to be loth'd ? And yet, how much more doth the seeming face Of neighbour-vertues, and their borrowed names, Adde of lewd boldnesse, to loose vanities ? Who would haue thought that Philavtia durst 60 Or haue vsurped noble Storges name? Or with that theft haue ventred, on our eyes ? Who would haue thought, that all of them should hope So much of our conniuence, as to come To grace themselues, with titles not their owne? 6s In stead of med'cines, haue we maladies ? And such impostumes, as Ph an taste is, Grow in our palace ? we must lance these sores. Or all will putrifie. Nor are these all, [265] 50 How ... ha ?] om. Q K 146 Cynthias Revels [act v 70 For we suspect a farder fraud then this: Take off our vaile, that shadowes may depart, And shapes appeare, beloued Arete So. Another face of things presents it selfe, Then did of late: What! featherd Cvpid mask'd? 75 And mask'd Hke Anteros? And, stay! more strange! Deare Mercvrie, our brother hke a page. To countenance the ambush of the boy ? Nor endeth our discouerie as yet: Gelaia, hke a Nymph, that but ere- while 8'' (In male attire) did serue An aides? Cvpid came hither to find sport and game, Who, heretofore hath beene too conuersant Among our traine ; but neuer felt reuenge : And Mercvrie bare Cvpid companie. 85 Cvpid, we must confesse this time of mirth (Proclaim'd by vs) gaue opportunitie. To thy attempts, although no priuiledge; Tempt vs no farther, we cannot indure Thy presence longer : vanish hence, away. 9° You, Mercvrie, we must intreate to stay. And heare what we determine of the rest; For in this plot, we well perceiue your hand. But (for we meane not a censor ian taske, And yet to lance these vlcers growne so ripe) 95 Deare Arete, and Crites, to you two We giue the charge; impose what paines you please: Th' incurable cut off, the rest reforme, Remembring euer what we first decreed, Since reueUs were proclaim'd let now none bleed. ^°° Are. How well Diana can distinguish times? And sort her censures ? keeping to her selfe 75 like to Q And, stay] but Q 89 lExit Cupid. Q 92 we . . . your] you haue the deepest Q 95 Crites . . . two] Criticus, to you Q sc. xi] Cynthias Revels 147 The doome of gods, leauing the rest to vs ? Come, cite them, C rites, first, and then proceed. Cri. First, Philavtia (for she was the first,) Then hght Gelaia, in Aglaias name, "s Thirdly Phantaste, and Moria next, Maine folHes all, and of the female crew: Amorphvs, or Evcosmos conterfeit. Voluptuous Hedon tane for Evpathes, Brazen Anaides, and Asoxvs last, "• With his two pages, Morvs and Prosaites; And thou, the trauellers euill, Cos, approch. Impostors all, and male deformities Are. Nay, forward, for I delegate my power. [266] And will that at thy mercie they doe stand, "s Whom they so oft so plainely scom'd before. " 'Tis vertue which they want, and wanting it, "Honour no garment to their backes can fit. Then, C rites, practise thy discretion. Cri. Adored Cynthia, and bright Arete, "° Another might seeme fitter for this taske. Then C rites farre, but that you iudge not so: For I (not to appeare vindicatiue. Or mindfuU of contempts, which I contemn'd As done of impotence) must be remisse, "s Who, as I was the authour, in some sort, To worke their knowledge into Cynthias sight, So should be much seuerer to reuenge Th'indignitie, hence issuing to her name. But there's not one of these, who are vnpain'd, ^30 Or by themselues vnpunished: for vice Is like a fune to the vicious minde, And turnes delight it selfe to punishment. 103 Crites, first] Criticus Q 119 Then . . . thy] Now Criticus, vse your Q 122 Ckites farre] Criticus Q K2 148 Cynthias Revels [act v But we must forward to designe their doome, 13s You are offenders, that must be confest, Doe you confesse it? All. We doe. Cri. And, that you merit sharpe correction? All. Yes. Cri. Then we (reseruing vnto Deliaes grace. Her farther pleasure, and to Arete 140 What Delia granteth) thus doe sentence you. That from this place (for pcenance knowne of all, Since you haue drunke so deeply of selfe-Loue) You (two and two) singing a palinode, March to your seuerall homes by Niobes stone, 145 And offer vp two teares apiece thereon ; That it may change the name, as you must change, And of a stone be called weeping Crosse: Because it standeth crosse of Cynthias way. One of whose names is sacred Trivia. 150 And, after pcenance thus perform'd, you passe In like set order, not as Midas did. To wash his gold off into Tagus streame. But to the well of knowledge. Helicon; Where purged of your present maladies, 155 (Which are not few, nor slender) you become Such as you faine would seeme: and then returne, Of f ring your seruice to great Cynthia. This is your sentence, if the goddesse please, [267] To ratifie it with her high consent : 160 "The scope of wise mirth vnto fruict is bent. Cyn. We doe approue thy censure, belou'd C rites. Which Mercvry, thy true propitious friend, (A deitie, next Iove, belou'd of vs) Will vnder-take to see exactly done: ^65 And for this seruice of discouerie 134 designe] define Q 136 All] Omnes Q 137 All. Yes.] Omnes. We doe. Q 155 not] nor Q 161 belou'd Cbites] Criticus Q sc. xi] Cynthias Revels 149 Perform'd by thee, in honor of our name, We vow to guerdon it with such due grace. As shall become our bountie, and thy place. "Princes, that would their people should doe well, "Must at themselues begm, as at the head; "For men, by their example, patteme out "Their imitations, and reguard of lawes: "A vertuous Court a world to vertue drawes. Palinode. A MO. From Spanish shrugs, french faces, smirks, irps, and all affected humours: 175 Chorvs. Good Mercvry defend vs. Pha. From secret friends, sweet seruants, loues, doues, and such phantastique humours. Chorvs. Good Mercvry defend vs. A MO. From stabbing of armes, flap-dragons, healths, iSo whiff es, and all such swaggering humours. Chorvs. Good Mercvry defend vs. Pha. From wauing of fannes, coy glaunces, glickes, cringes, and all such simpring humours. Chorvs. Good Mercvry defend vs. 185 A M o. From making loue by atturny, courting of puppets, and paying for new acquaintance. Chorvs. Good Mercvry defend vs. Pha. From perfum'd dogs, munkeyes, sparrowes, dildo's, and parachito's. 190 Chorvs. Good Mercvry defend vs. 170 heads Q 173 Exeunt, Cynthia, Arete, S-c. Q Amorphus, Phantaste, &c., go off the stage in fairs, singing the following O Palinodia Q 150 Cynthias Revels [epil. [268] A MO. From wearing bracelets oj haire, shooe-ties, gloues, garters, and rings with poesies. Chorvs. Good Mercvry defend vs. 195 Pha. From pargetting, painting, slicking, glazing, and renewing old riueld faces. Chorvs. Good Mercvry defend vs. A MO. From squiring to tilt-yards, play-houses, pag- eants, and all such publique places. 200 Chorvs. Good Mercvry defend vs. Pha. From entertayning one gallant to gull an other, and making fooles of either. Chorvs. Good Mercvry defend vs. A MO. From belying ladies fauours, noble-mens counte- 205 nance, coyning counterfet imployments, vaine-glorious taking to them other mens seruices, and all selfe-louing humours. Chorvs. Good Mercvry defend vs. Song. NOw each one drie his weeping eyes, And to the well of knowledge haste; 210 Where purged of your maladies. You may of sweeter waters taste: And, with refined voice, report The grace 0/ Cynthia, and her court. THE EPILOGVE. GEntles, be't knowne to you, since I went in I am tum'd rimer; and doe thus begin. The Author (iealous, how your sense doth take Song] CANT Q Mercury and Crites sing. G 211 You] we Q Finis Actus quinti & vltimi. Q Epilogus. Q EPiL.] Cynthias Revels 151 His trauailes) hath enioyned me to make Some short, and ceremonious epilogue; 5 But if I yet know what, I am a rogue: He ties me to such lawes, as quite distract My thoughts; and would a yeere of time exact. I neither must be faint, remisse, nor sorry, Sowre, serious, confident, nor peremptory. 1° But betwixt these. Let's see; to lay the blame 12691 Vpon the Childrens action, that were lame. To craue your fauour, with a begging knee. Were to distrust the writers facultie. To promise better at the next we bring, ^s Prorogues disgrace, commends not any thing. Stifly to stand on this, and proudly approue The play, might taxe the maker of selfe-Loue. Vie onely speake, what I haue heard him say; By ( — ) 'tis good, and if you lik't, you may. 2° THE END. Ecce rubet quidam, pallet, stupet, oscitat, odit. Hoc volo: nunc nobis carmina nostra placent. 13 Fauours Q 20 (— )] God Q Finis. Q [270] This Comicall Satyre v/sls first acted , in the yeere 1600. By the then Children of Queene Elizabeths Chappell. The principal! Comoedians were, Na Sa T. Field. I [ Ioh. Vnderwood. L. Pavy. [ { Rob. Baxter. Tho. Day. J | Ioh. Frost. With the allowance of the Master of Revells. TEXTUAL NOTES See the full discussion of the foho-variants under Remarks on the Variations in the Impressions of the Folio, in the Introduction. In the Ust which follows, the corrected reading has been given in each case first. Y represents the folio in the Yale Library; B, that reprinted by Bang; H, that in the Hague Library ; P, Professor Phelps ' copy. Signatures from the folio are given before the line-numbers, in order that the distribu- tion of more and less corrected sheets may be clearer. The most important variants, aside from those which represent the correction of evident errors, or an effort to secure uniformity of typography, are starred. If occasionally alterations on the corrected signatures do not appeal to us as changes for the better, we should bear in mind that Jonson's rules for punctuation were different from ours. The colon, for instance, as he tells us in his English Grammar {Wks. 9. 317), is used to separate a sentence ' perfect in itself, yet joined to another.' The comma, used by him with great freedom, is nothing more nor less than *a mean breathing.' Brinsley Nicholson, in his edition of Jonson {Mermaid) 1. Ixx-i, has an interesting discussion of Jonson's punctuation. selfe-Louei Y : selfe-loue B H P Benefactor ? or Y B H : Benefactor ? |or P church, in Y B H : church in P curious, and Y B H : curious and P band, this Y B H : band this P 1. 4. 123 clothes, with Y B H : clothes with P ^ This is shown to be the corrected reading by reference to other alterations made on the same side of this signature, which is a part of Every Man out of his Humor, the play that precedes in the folio. P5. Title-page Rl V. 1. 4. 98 1. 4. 99 1. 4. 109 154 Cynthias Revels 1. 4. 125 vn-trauel'd Y B H : vntrauel'd P 1. 4. 132 sir. I protest Y B H : sir, I protest P R 2 V. 1. 5. 38 Floates Y P : Floate B H R3. 1. 5. 41 ill-affected H : U-affected YBP 1 5.42 follies. H: follies: YBP 1. 5. 50 woo Y H : woe B P 1. 5. 53 betray, her H : betray her YBP 2. 1. 1 my H : by Y B P 2. 1. 12 easinesse, and H : easinesse and Y B P 2. 1. 14 mine: and H : mine; and YBP R 4 V. 2. 2. 60 cioppini H : Cioppini YBP 2. 2. 65 rogue H : Rogue YBP *2. 2. 69 on 'hem time e- | nough: but H : on them time e- [ nough ; but YBP *2. 2. 74 strangenes H : stratagems YBP 2. 2. 79 ordinarie H : ordinarie YBP 2. 2. 83 laughter, Gelaia H : laughter Gelaia YBP 2. 2. 94 healths, nor H : healths; nor YBP 2. 2. 102 cockatrice, or H : cockatrice or Y B P R 5. *2. 3. 35 grauitie Y P : gratuitie B H R6. 2. 3. 104 clockes: for YBH: clockes; for P 2. 3. 105 whetstone, his Y B H : whetstone his P 2. 3. 109 cenchouies YBH: anchouies P 2. 3. Ill clothes, and YBH: clothes and P 2.3.131 cholericke, but YBH: cholericke; but P 2. 3. 132 & order'd YBH: and order'd P Nature YBH: nature P iniurie YBH: injurie P prayses : I YBH: prayses ; I P S 1 V. 2. 4. 86 metaphysically: looke YBH : meta- physically; looke P too, of Y B : too of H P knowledge : and YBH: knowledge ; and P S 6. 3. 5. 54 adore and Y B : adore, and H P (only faint traces of the comma left) 2. 3. 141 2. 3. 153 2. 4. 86 2. 4. 100 2. 4. HI Textual Notes 155 3. 5. 56 in this court, corner of the world, or kingdome Y B : in this court, corner of the world, or kingdome H P 3. 5. 57 all, againe Y B H : all againe P 3. 5. 75 Nymph Y B : Nymph H P 3. 5. 90 The dash is not found in H and P. 3. 5. 95 exoticke Y B : exotickes H P T 1. 4. 1. 10 mer curie B H P : Mercvry Y mee B H P : me Y 4.1.26 tobe:IknowBHP : to be; I know Y 4. 1. 29 trewnesse B H P : trunesse Y 4. 1. 37 propitious, and B H P : propitious and Y *4. 1. 43 of 'hem al B H P : of them al Y 4. 1. 50 Venetian B H P : Venetian Y T 1 V. 4. 1. 92 Ar I GVRioN, to Y : Ar I gvrion to BHP 4. 1. 99 fashion ; Mary Y : fashion : Mary BHP T 6. 4. 3. 258 die-note Y : die-note BHP 4. 3. 260 it and (separated by a wide space) ^ Y P : it, and B H 4, 3. 269 kings . . . dukes Y : Kings . . . Dukes BHP *4. 3. 271 Brunswicke, the Lantgraue, Count Pala- tine Y : Brunswick, the Lantgraue, Count Palatine BHP 4. 3. 296 him; he Y : him, he B H P *4. 3. 303 lords that brought Y : lords who brought BHP T 6 V. 4. 3. 316 loues BHP: loues Y 4. 3. 329 judgement, | B H P : judgement | Y 4. 3. 340 you, let B H P : you let Y 4. 3. 345 hope, I B H P hope I Y *4. 3. 349 vpo' BHP vpon Y 1 In several instances on pages which show the same state of correction, letters and stops have evidently failed to print; sometimes their growing dimness, sometimes spaces, in the other copies, make this clear. All such cases occurring in Y, or in corrected sheets adopted from other editions, are noted below (p. 157). 156 V3. 4. 5. 43 *4. 5. 62 V4v. *5. 2. 7 Cynthias Revels twice, in Y H : twice in B P alter all this Y H : alter this B P of your own en- | dowments Y H : of your en- | dowments B P 5. 2. 19 greene, and yellow Y H : greene, and yellow B P 5. 2. 30 greene Y H : greene B P 5. 2. 35 truenesse, (shee Y : truenesse ; (shee B P (in H the comma has ceased to print) Y2v. 5. 6. 52 Loue, for P : Loue; f or Y B H 5. 6. 57 Any, the P : Any the Y B H 5. 6. 77 argument, or P : argument or YBH 5. 6. 84 hyperbole P : hyperbole YBH 5. 6. 93 The comma after 'him' has become very faint in P and ceased to print in Y. Y 3 V. 5. 7. 26 thus, in Y : thus in B H P 5. 7. 27 natural Affection Y : natural affec- tion B H P 5. 7. 28 Storge, & Y : Storge, and B H P 5. 7. 30 allowable selfe-loue Y : allowable self- loue B H P 5. 7. 31 Perfection Y ; perfection B H P 5. 7. 33 perpendicular Leuell, | vpon a Cube, or Square. Y : perpendicular leuell, vpon a Cube, or Square. B H P 5. 7. 37 delectable and pleasant Conuersati \ on Y : delectable and pleasant Conuersa- 1 tion B H P 5. 7. 43 An alle- \ gorie Y : An Al- | legorie BHP 5. 7. 46 Wittinesse Y : wittinesse BHP 5. 7. 54 Simplicitie Y : simplicitie BHP 5. 7. 57 siluer Y : Siluer BHP 5. 7. 63 quaternion Y : Quaternion B H F Y4. 5. 8. 12 wane! Y: wane. BHP 5. 8. 15 paule Y : pall BHP 5. 8. 37 praise ( Y : praise; ( BHP 5. 8. 46 m'indeuoursY : my ' ndeuours B H P Textual Notes 157 Y 5, *5. 10. 1 (margin) Masques ioyne, and they P : Maskes ioyne, and Y B H 5. 10. 14 little, indeed P : little indeed Y B H Z 1 V. 5. 11. 120 Arete, Y H : Arete; B P 5. 11. 131 vnpunished : for Y H vnpunished for BP 5. 11. 134 doome, YH : doome; BP 5. 11. 147 weeping Crosse Y H : Weeping Crosse BP Z 3. The line printed under the Latin quotation in B and Y is found immediately after the Epilogue in H and P. As before stated, the Yale University copy has furnished the basis for the text here given, less corrected sheets being replaced from other copies. The text aims to be an exact reprint, except for the correction of certain obvious typographical errors, and the restoration of a few stops and letters which had evidently ceased to print. All such changes are noted in the list which follows. Induct. 164 3. Most : 3 Most Y 2. 3. 54 Amo. : Ano. Y 2. 4. 112 vanish : van sh Y 3. 5. 14 it). : it) Y 3. 5. 54 adore, and : adore and Y 4. 1. 70 breadth. : breadth Y 4. 2. 49 Mer. : Mor. Y 4. 3. 188 slops. : slops, Y 4. 3, 260 it, and : it and Y 5. 2. 35 truenesse, she : truenesse she H 5. 3. 39 her : he Y 5. 3. 90 {margin) challenge : challeng Y 5. 3. 119 retrograde : retrogade Y 5. 4. 25 Amor. : Anor. Y 5. 4. 340 muske : mukse Y 5. 9. 35 (not : not (not Y 5. 10. 66 Mer. : Mor. Y 5. 11. 50 contemn'd : comtemn'd Y 5. 11. 158 please, : please. H EXPLANATORY NOTES These notes include whatever has been thought valuable in previous editions, lack of space, however, making condensation often necessary. Notes signed W are from Whalley, G from Gifford, C from Cunningham. The Bibliography should be consulted for other abbreviated references and for editions of works cited. References to the text of Cynthia's Revels are to act, scene, and line of this edition; other references to Jonson are to the Cunningham-Gifford edition of 1875, act, scene, and page. Abridgment should be understood where matter apparently quoted is not included in quotation marks. QUARTO TITLE-PAGE priuately acted in the Black-Friers. The Blackfriars was built by James Burbage in 1596—7, in the precinct of Black- friars, at that time a popular resort for the nobility, who went there to play tennis. Evidently hoping to attract aristocratic audiences, he constructed a finer theatre than any in the city, the auditorium being covered; hence the expression, ' privately acted,' which implies no exclusion of the general public, but merely an indoor presentation, possibly approaching, in some details of the staging, the performances given at court. See Cambridge Hist, of Eng. Lit. 6. 288-90. the Children of her Maiesties Chappell. The organization of children's companies of players during Elizabeth's time, from the choristers of the Chapel Royal, St. Paul's Cathedral, the Royal Chapel of St. George at Windsor, and Westminster Cathedral, was a natural development of the earlier practice of using the choir boys in the miracle plays. A company of children, which was called 'The Children of Queen Elizabeth's Chapel, ' were the first actors in the new theatre at Blackfriars. 'There is no evidence that the queen had any active part in the establishment or maintenance of the children of Black- friars, though, of course, the company could not have been i6o Cynthias Revels [quart. -tit. established or maintained without her tacit consent' {Cam- bridge Hist, of Eng. Lit. 6. 329) . After her death the company was reorganized as 'The Children of her Majesty's Revels.' Their great popularity excited the jealousy of adult actors. Shakespeare, whose company must have suffered in some de- gree because of the Children's popularity, was doubtless putt- ing his own thought into the mouth of Rosencrantz when the latter asserts that the boy actors shout at the top of their voices, get extravagantly applauded for it, and are so noisy that actors possessed of true wit dare not encounter them {Hamlet 2. 2. 353 ff.). After 1626 the children were no longer allowed to perform the double function of actor and chorister. The Children of Queen Elizabeth's Chapel also brought out Poetaster in 1601, and, as the Children of her Majestj^'s Revels, Epicoene in 1609. lohnson. The spelling 'Johnson' seems to have been pre- ferred by the poet till his publication of ' " Part of the Kings . . . Entertainment through . . . London . . . the 15th of Marche, 1603 [4]." It was published with a Latin title-page, and therefore commenced B. Jonsonii, and ever thereafter he wrote himself in his publications, Jonson. This he may have adopted from, as above, its more literate — i. e., Latinate — form, or for the sake of singularity, and to separate himself from the common herd of Johnsons and Johnstones, or because he had become acquainted with the form Jansen, in his campaign in the Low Countries.' — Nicholson, Antiquary 2. 55-6. Quod non dant Proceres, etc. Juvenal, Sat. 7. 90 and 93. The same lines are found on the title-page of the quarto of Every Man In. ' Gifford seems to regard the motto ... as obscure, . . . but surely it is intelligible enough. The author has no Court patrons, and it is to the audience of a public theatre, from which he confessedly derives his means of support, that he appeals.' — Ward, Eng. Dram. Lit. 2. 353. Walter Burre. According to the Stationers' Register, on May 23, 1601, 'waiter Burre Entred for his Copye vnder the handes of master Pasfeyld and master warden whyte A booke FOL.-TIT.] Explanatory Notes i6i called NARCISSUS the fountaine of self love.' Burre was admitted as freeman to the Company on June 25, 1596; he entered books at infrequent intervals for twenty years, among them Every Man In, also published by him in 1601. Sejanus, Volpone, and the Alchemist were all entered by him on Oct. 3, 1610. Though Burre was still publishing in 1614, it would seem that he had sold his shop in Paul's Churchyard by 1602, for the earliest edition of the Merry Wives of Windsor is a quarto printed in 1602, 'by T. C. for Arthur Johnson; and are to be sold at his shop in Powles Church-yard, at the signe of the Flower de Leuse and the Crowne.' Paules Church-yard. Before the fire which destroyed the old Cathedral, St. Paul's Churchyard, the irregular area lined with houses and encircling the Cathedral and burial-ground, was chiefly inhabited by stationers, whose shops were then, and till the year 1760, distinguished by signs. — Wheatley and Cunningham, London Past and Present 3. 53 ff. FOLIO TITLE-PAGE Nasutum volo, nolo polyposum. Mart. 12. 37. 2. The whole epigram has been thus paraphrased : ' To a Wit about Town. You wish to be regarded as having an extremely good nose. I like a man with a good nose, but object to one with a polypus.' Wilham Stansby. Stansby's prominence as a printer is shown by the large number of books entered by him at Sta- tioners' Hall between the years 1611 and 1635. On Jan. 20, 1615, he entered a book entitled: 'Certayne Masques at the Court never yet printed, written by Ben Johnson.' The 1620 quarto of Epiccene, the 1635 quarto of Hamlet, and the second quarto of Love's Labor's Lost were also from his press. DEDICATION 11 It is not pould'ring, perfuming, etc. An interesting expansion of the thought contained in this sentence occurs in Explorata, Wks. 9. 181—2, with the title De mollibus et effceminatis. See Introduction, p. xlii, where it is quoted in full. L i62 Cynthias Revels [ded. 15 euen in the raigne of Cynthia. 'Cynthia was now dead, and this little reflection upon her memory, which might have been spared, was thrown in to cajole her successor. The quarto has no dedication.' — G. ' Cynthia for Elizabeth and Phoebus for James may be said to be identical with the fulsome language in the Epistle Dedicatory to the Enghsh Bible — the "setting of that bright Occidental Star," and the "appearance of your majesty as of the sun in its strength." — C. So Bacon, Advancement of Learning, p. 181: ' Queen Eliza- beth and your Majesty, being as Castor and Pollux, lucida sidera, stars of excellent light and most benign influence.' 17—8 Except . . . selfe-Loue. This must be read as a parenthetical expression; her, in 21 below, refers back to Cynthia. The Persons of the Play Except Cynthia (who of course represents Ehzabeth) ; Mercury, Cupid, and Echo, the three well-known characters of mythology, and Cos (L. whetstone), the persons of the play all bear names of Greek derivation, designed to suggest their respective characters. The children in the Induction give us most of the Enghsh equivalents, viz., Crites, the Scholar; Amorphus, the Deformed; Asotus, the Prodigal; Hedon, the Voluptuous; Anaides, the Impudent; Prosaites, the Begger; Morus, the Fool; Arete, Virtue; Phantaste, a light Witliness; Argurion, Money; Philautia, Self-Love; Moria, Folly; Gelaia, Laughter; the others are: Hesperus, the Evening Star; Mor- phides, the Son of Sleep; Phronesis, Prudence; Thauma, Wonder; Time, Honor. In order fully to understand the play, one must constantly bear in mind the allegorical nature of the characters. GARGAPHIE. A valley near Plataea, in Boeotia, which contained a fountain of the same name. It was celebrated as one of Diana's favorite retreats. IND.J Explanatory Notes 163 CYNTHIAS REVELS After the second sounding. In Elizabethan theatres the second flourish of trumpets was the signal that the induction was to be spoken ; the third immediately preceded the prologue. INDVCTION 12 I pleade possession of the cloake. Gifford cites He5rwood, Four Prentices of London, Prol. : ' Do you not know that I am the Prologue ? Do you not see this long blacke velvet cloake upon my backe ? ' 36 lacke. The second boy is twice addressed as lacke in the Induction. Perhaps John Underwood or John Frost (see list of actors at the conclusion of the play) took this part. 44 as any man (that hath hope to bee saued by his booke ) can witnesse. I. e., that can read: alluding, in the first place, to the so called neck-verse, and secondly, to the title of the play, which was written or painted in large letters, and stuck up in some conspicuous place. — G. The neck-verse was a Latin verse, formerly set before one claiming benefit of clergy, by reading which he might save his neck. — A^ED. Sir Philip Sidney mentions the custom of using signs to designate the scenes: 'What child is there that, coming to a play, and seeing Thebes written in great letters upon an old door, doth believe that it is Thebes ? ' {Defense of Poesy, ed. Cook, 36. 16—9.) 50 take anie of our play-bookes without a Cvpid, or a Mercvry in it, and burne it for an heretique in Poetrie. A thrust chiefly aimed at Lyly, no doubt; Cupid appears in Sapho and Phao (1591), in Gallathea (1592), and in Love's Metamorphosis (1599—1600?); and both Cupid and Mercury appear in the Woman in the Moone (1597). See Introduction, pp. Ivii ff. 54 Eccho. The nymph Echo, condemned by Juno to speak only the last words that others spoke, saw and loved the beautiful youth Narcissus. Her love was repulsed; heart- broken, she faded away till only her voice remained. Another nymph, similarly rejected, implored Heaven that Narcissus L2 164 Cynthias Revels [ind. might also so love, nor enjoy the object loved. Bending over a spring in a forest, he saw the image of himself and loved it passionately, but finding his efforts to embrace it in vain, he, too, pined away and died. The dryads who came to bury him saw only a yellow flower with white petals where his body had lain (Ovid, Met. 3. 339-510). 72 the traueller, who hath the whetstone following him. I. e., Cos. In Elizabethan times the whetstone was the prize for lying; it was evidently deemed appropriate as a symbol of the sharpening which the wits had to undergo in order to attain success in falsehood. The impossible stories of Amorphus, the traveler, make it fitting that he should be accompanied by such a page. Cf. Lingua 2. 1 (Dodsley's 0. PI. 9. 363) : ' I must borrow thy whetstone, to sharpen the edges of my martial compliments'; also As You Like It 1. 2. 58: 'The dullness of the fool is the whetstone of the wits.' 85 your begger begins to waite close. Much is made of the 'close waiting' of the pages on their masters. Perhaps it was a new affectation of the gallants at this time to keep pages constantly in attendance at their elbows. Cf. 2. 3. 81 ; 4. 3. 375; 4. 4. 40; 4. 5. 131. 95 you shall see her play in a blacke robe anon. In 5. 4. 23 Crites is called 'this fellow i' the blacke-stuffe,' and in 4. 1. 85, 'the poore plaine gentleman, i' the blacke, there.' The silken courtiers of Elizabeth's day looked on black garments with a feeling akin to horror. In Shirley's Lady of Pleasure (2. 1, p. 25), Lady Bornwell almost faints on seeing her nephew return from college dressed in black, and loses no time in putting him into a gayer suit. Earle {Micro- cosmographie, p. 45) thus characterizes a young gentleman of the university : ' Of all things hee endures not to be mistaken for a Scholler, and hates a black suit though it be of Sattin.' 98 yet. Occasionally, as here, Jonson's use of yet {' never- theless') approaches singularly close to the German dock. 122 hauing paid my monie at the doore. At this time the theatre probably had a single door where the audience entered ; they paid the doorkeeper, who placed the money in a box which he held; previous to 1616 the price probably varied IND.] Explanatory Notes 165 between eighteen pence for the best seats to a penny or so for the pit or gallery. — CoUier, Eng. Dram. Poetry 3. 146—7. For an interesting discussion of the construction of the Elizabethan playhouse, see Cambridge Hist, of Eng. Lit. 6. 290-306. 124 thiee sorts of tabacco. Joshua Sylvester's poem, Tobacco Battered, mentions no less than four varieties then in use: Ball, Leafe, Cane, and Pudding-packs {Wks. 2. 274). According to Harrison, tobacco had already been introduced into England by 1573, and was inhaled as a cure for certain lung diseases, but it was Raleigh's example some years later that made smoking fashionable (Traill, Social Eng. 3. 571—2). Its consumption in theatres is often mentioned; cf. Middleton, Black Book 8. 42: 'Barnaby Burning-glass, arch-tobacco- taker of England, in ordinaries, upon stages both common and private'; and Bar. Fair (5. 3, p. 482), where we are told that it is one of the duties of the 'pretty impudent boys' to 'fill tobacco.' 127 At the breaches he takes his tabacco. This represents Jonson's development of an idea already used in Every Man Out (3. 3, p. 119), where Fastidious ' takes tobacco between the breaks.' When he has finished, Macilente comments : ' I never knew tobacco taken as a parenthesis before.' 134 the verie stench of 'hem would poison mee. Jails at this time were foul and unclean beyond description, and bred a pestilent fever which swept away many prisoners (Traill, Social Eng. 3. 563). The seven hospitals of London were hardly more inviting, being merely asylums for the poor, aged, and diseased, not hospitals in our sense of the word; see note on 1. 4. 97. 1 44 What ? vpon the stage, too ? See the Guls Hornbooke, Pr. Wks. 2. 247—9, for a splendid satire on this absurd practice; Gifford thinks Dekker got more than a hint from Jonson's ridicule of the custom here. Dekker thus concludes: 'By sitting on the stage, you may (with small cost) purchase the deere acquaintance of the boyes: have a good stoole for sixpence: at any time know what particular part any of the infants present: get your match lighted, examine the play- l66 Cynthias Revels [ind. suits lace, and perhaps win wagers upon laying tis copper, &c. And to conclude, whether you be a foole or a Justice of peace, a Cuckold, or a Capten, a Lord-Maiors sonne, or a dawcocke, a knave, or an under- Sherife; of what stamp soever you be, currant, or counterfet, the Stage, hke time, will bring you to most perfect light and lay you open.' See also Every Man Out 1. 1, p. 31, where Carlo advises Sogliardo to sit on the stage and flout, provided he has a new suit ; and Epigrams, Wks. 8. 151, where Lieutenant Shift Calls for his stool, adorns the stage: god pays. 154 a piece of perspectiue. This certainly appears like an allusion to some sort of stationary scenery, though critics at present incline to the view that there was none used at this time on the public stage (Cambridge Hist, of Eng. Lit. 6. 303). Of course stage-properties were numerous and elaborate, and painted scenes had been used for a long time at court. In 1580, for example, William Lyzarde was paid for painting 'seven cities, one country-house, one battlement, a mount, and two great cloths' (Collier, Eng. Dram. Poetry 3. 174). 156 I am none of your fresh pictures. ' When the tapestry decayed, its defects seem to have been supplied by paint ; or, perhaps, pictures were hung over it to conceal its defects.' — Collier, Eng. Dram. Poetry 3. 173, note. 169 properties. This word was 'technically applied to the appurtenances of the stage as early as the year 1511.' — Collier, Eng. Dram. Poetry 3. 250. 178—97 The strictures in this speech are probably meant for Dekker and Marston, toward whom Jonson felt at this time particularly bitter. They are both arraigned as plagia- rists in Poetaster (5. 1, p. 488), and certainly prided themselves on the rapidity of their workmanship, since they made fun of Jonson for his slow habits of composition [Satiromastix, pp. 191, 200, 202). Cf. also Poetaster, Apologetical Dialogue, p. 519. 181 the more iudicious part of it. 'He [Jonson] despised the popular judgment with an arrogance unparalleled in the annals of literature, although he constantly professed IND.] Explanatory Notes 167 himself solicitous of the favorable opinion of the judicious ' (SchelHng, Ben J onsen and the Classical School, p. 12). Thus in the Prologue to Every Man Out (p. 14) he calls on his 'judicious friends' to censure him where he wants either art or judgment; and in Poetaster, Apologetical Dialogue, p. 520, he says: ... if I prove the pleasure but of one, So he judicious be, he shall be alone A theatre unto me. 184 leaue to bee. This use of the infinitive for the gerundive is common with Jonson; cf. Abbott, § 356. 188 laundresse. Apphed to women of doubtful reputation; cf. Nashe, Lenten Stuff e {Wks. 3. 214), where he describes counsels who 'rage & fly out they care not howe against a mans life, his person, his parentage, . . . little remembering their owne privy scapes with their landresses.' Cook {Mod. Phil., vol. 4, April, 1909) gives other instances where 'laundress' has this sense, among them Chaucer, Prol. Leg. Good Women A. 333, 334: Envye (I prey to god yeve hir mischaunce!) Is lavender in the grete court alway. 191 liu'd wholy vpon another mans trencher. — aliena vivere quadra. Juvenal, Sat. 5. 2. — G. 195 nor how manie coaches came, etc. I. e., how many of the aristocracy rode on horseback or in coaches to their plays. Collier {Eng. Dram. Poetry 3. 214) relates how the inhabitants of Blackfriars petitioned the Privy Council against the nuisance of so many coaches, which brought auditors to, or carried them away from, the theatre there. Dekker {Guls Horn-booke, Pr. Wks. 2. 246) mentions 'Hobby- horses, to ride to the new play.' 203 ghosts of some three or foure playes, etc. It was a common practice of the day to revise and revive a once popular play; see Henslowe's Diary (ed. Greg) 2. 148—235. Fleay (Chron. of the Eng. Drama 1. 363) suggests Lyly's Love's Metamorphosis and Kyd's Hieronimo; probably Fleay i68 Cynthias Revels [ind. means the First Part of leronimo, for such a remark would be impossible in regard to a play Jonson had himself helped to revive (see note on 218). 212 and yet will censure as desperately, etc. Jonson must early have been impressed with the hypercritical nature of many in his audiences, for even in The Case is Altered (2. 4, pp. 338—9) we find him attacking the 'ignorant critics': 'But the sport is at a new play, to observe the sway and variety of opinion that passeth it. A man shall have such a confused mixture of judgment, poured out in the throng there, as ridiculous as laughter itself. One says he hkes not the writing, another likes not the plot, another not the playing : and some- times a fellow, that comes not there past once in five years, at a parliament time, or so, will be as deep mired in censuring as the best, and swear by God's foot he would never stir his foot to see a hundred such as this.' 218 That the old Hieronimo, (as it was first acted), etc. This makes it appear that the Spanish Tragedy (it went generally by the name Hieronimo) had already by 1600 undergone the alterations for which Jonson received a loan on Sept. 25, 1601 (Henslowe, Diary 1. 149); unless, indeed, Jonson merely refers to the revision it was given when it was revived as a new play in 1597 by the Admiral's men. The editions, however, show no change till 1602 (Greg, ed. of Henslowe' s Diary 2. 153—4). 220 when Monsievr was heere. 'In 1579 the Duke of Anjou, brother to Charles IX, king of France, came into Eng- land and paid his addresses to Queen Elizabeth, who cajoled him for some time, and then sent him home in disgrace. His residence here seems to have formed an era for our old drama- tists, who make frequent mention of it. Thus Middleton {Mad World my Masters 4. 2, p. 321) : " It was suspected much in Monsieur's days.'" — G. See also Middleton, Black Book 8. 16; Conversations, Wks. 9. 395; and Mercury Vindicated, Whs. 7, 237. For a full account of this, EHzabeth's most serious courtship, see Hume, Courtships of Queen Elizabeth, pp. 114—43. 231 child. The quarto has Sail', probably Salathiel Pavy PROL.] Explanatory Notes 169 played this part. From 52 above, we learn that the role of Anaides fell to him. For additional information, see remarks under 'The principall Comoedians' at the conclusion of the notes. PROLOGVE 1—2 attention . . . apprehension. The metre necessitates the pronunciation of -Hon and -sion each in two syllables. Cf. Abbott, § 479. 7—8 These lines, incorrectly quoted, appear in Satiromastix, p. 213 ; they are put into the mouth of Horace, who continues thus : No, our sharpe pen shall keep the world in awe, Horace thy Poesie, wormwood wreathes shall weare. We hunt not for mens loves but for their feare. 17 Then cast those piercing raies, etc. His muse prefers to wear, not the usual wreath of laurel, but a crown composed of the gracious silence, sweet attention, and quick apprehension of the judicious. 19 poesie. Two syllables; according to NED., posy, a syncopated form of poesy, was often pronounced in two syllables, even when written in full. 20 Words, aboue action. No one can object to the diction of Cyn. Rev. Castelain {Ben Jonson, p. 268) says : ' La piece est admirablement ecrite; disons-le, c'est la mieux ecrite de toute I'ceuvre de Jonson.' But the generally excellent diction does not compensate for the worst defect of the play, the almost total lack of dramatic action, of which Jonson here speaks with actual pride. matter, aboue words. Cf. Explorata, Wks. 9. 204: 'It was well noted by the late lord St. Alban, that the study of words is the first distemper of learning ; vain matter the second ; and a third distemper is deceit. . . . All these are the cobwebs of learning and to let them grow in us, is either sluttish, or foolish.' Jonson refers to A dvancement of Learning, pp. 190— 1 . In Explorata, Wks. 9. 144, under the title Lingua sapientis, potius quam loquentis, he expresses a similar thought: 'But you shall see some so abound with words, without any season- 170 Cynthias Revels [act i ing or taste of matter, in so profound a security, as while they are speaking, for the most part they confess to speak they know not what.' ACT I 1.1.1 Who goes there ? The quotations which follow show how freely Jonson drew on Lucian for this scene. Gifford remarks that in elegance and sprightliness of style this dialogue is not a whit inferior to any in that lively Attic writer. 1. 1. 10 you ha' not a finger, but is as long as my quiuer, etc. Lucian, Dial, of Gods 7 (tr. Fowler 1. 67): HephcBstus. So light-fingered? 1. 1. 14 You did neuer steale, etc. Lucian, Dial, of Gods 7 (tr. Fowler 1. 67): Apollo. That baby a treasure? well, in mischief, lapetus is young beside it. HephcBstus. Why, what harm can it do, only just born? Ap. Ask Posidon; it stole his trident. Ask Ares; he was surprised to find his sword gone out of the scabbard. Not to mention myself, disarmed of bow and arrows. 1. 1. 15 Mars his sword. The use of his after a substantive instead of the genitive inflexion was most prevalent from 1400 to 1750. In the 16th— 17th centuries it was chiefly used with names ending in s. — NED. 1. 1. 22 what are you? any more then my vncle loves pandar, etc. Lucian, Dial, of Gods 24 (tr. Fowler 1. 86): Hermes. Mother, I am the most miserable god in Heaven. Maia. Don't say such things, child. Her. Am I to do all the work of Heaven with my own hands, to be hurried from one piece of drudgery to another, and never say a word ? I have to get up early, sweep the dining-room, lay the cushions and put all to rights : then I have to wait on Zeus, and take his messages, up and down, all day long : and I am no sooner back again (no time for a wash) than I have to lay the table; and ACT i] Explanatory Notes 171 there was the nectar to pour out, too, till this new cup- bearer was brought. And it really is too bad, that when every one else is in bed, I should have to go off to Pluto with the shades, and play the usher in Rhadamanthus' court. It is not enough that I must be busy all day in the wresthng-ground and the Assembly and the schools of rhetoric, the dead must have their share in me, too.' 1. 1. 26 warble vpon a crowde a little. Lucian, Dial, of Gods 15 (tr. Fowler 1. 74): Hermes. I am a healthy fellow, and can touch the lyre. See also ibid. 7 (p. 68). ' To warble on a crowd, is a Latinism, canere tibia.' — G. See Glossary for Crowde. 1. 1. 30 call. A strange use of call; perhaps, aided by his magic wand. Mercury needed to do no more than command, and the stools assumed their proper places. 1. 1. 46 wee who haue made the whole bodie of diuinitie tremble at the twang of our bow. Lucian, Dial, of Gods 6 (tr. Fowler 1 . 66) : Zeus. Yes, Love is all-powerful ; and not with mortals only: we Gods have sometimes fallen beneath his sway. Hera. He has made himself master of you; no doubt of that. 1. 1. 47 and enfore'd Satvmivs, etc. See Lucian, Dial, of Sea-Gods 6 (tr. Fowler 1. 96). 1. 1. 56 You haue forgot since I tooke your heeles vp into aire, etc. Lucian, Dial, of Gods 7 (tr. Fowler 1. 67—8) : Yesterday he challenged Eros — tripped up his heels somehow, and had him on his back in a twinkhng ; before the applause was over, he had taken the opportunity of a congratulatory hug from Aphrodite to steal her girdle; Zeus had not done laughing before — the sceptre was gone. If the thunderbolt had not been too heavy, and very hot, he would have made away with that too. 1. 1. 67 I heard, you but look't in at Vulcans forge, etc. Lucian, Dial, of Gods 7 (tr. Fowler 1. 67): 1^2 Cynthias Revels [act i Apollo. Ah, you will find out, Hephaestus, if he gets within reach of you. Hephaestus. He has been. Ap. Well? all your tools safe? none missing? Heph. Of course not. Ap. I advise you to make sure. Heph. Zeus! where are my pincers? 1. 1. 74 shittle-cocks. Shuttle-cock, like tennis, was a favorite sport among the courtiers; cf. Robert Armin, Two Maids oj Mot e-clacke [Grosavt's Occasional Issues 13. Ill): O sir, a Courtier on my life, I love to sit up late, Ly long it'h morning, rot with sweete meates, and To play at shuttle-cock. 1. 1. 90 I'le discouer my whole proiect. See Introduction, p. Ixi. 1. 1. 93 diuine iustice on Acteon. Ovid {Met. 3. 138-252) relates how Actaeon, who was hunting in the Vale of Gargaphia, which contained a wood and spring sacred to Diana, chanced to come upon the goddess while bathing; the latter, in wrath, turned him to a stag, and he was killed by his own dogs. For a discussion of Actaeon's identity, see Introduction, pp. XXV ff, 1. 1, 121 Eccho. See note on Induct. 54. 1. 2. 5 pittying. The metre requires its pronunciation in two syllables. 1. 2. 17 Shrin'd in this yellow flowre, that beares his name. In 1599 Daffodil was the common name for the genus Narcissus, according to the Catalogue of Gerarde's Garden, where twelve different varieties are distinguished. — NED. Ovid {Met. 6 509—10) describes the flower as yellow, with white petals: Nusquam corpus erat: Croceum pro corpore florem Inveniunt, foliis medium cingentibus albis. 1. 2. 25 trophsee. Jonson prefers the Latin form, as also hyesna, 1. 3. 5; pcene, 5. 2. 44; ceternitie, 5. 4. 649; ccelestial, 5. 8. 8; pcenance, 5. 11. 141. 1. 2. 51 " So wretched is it to be meerely rich. Quotation- marks were placed by Jonson at the beginning of a line to call ACT i] Explanatory Notes 173 the reader's attention to a particularly expressive thought or aphorism, not to indicate that the words are quoted. In this play thirty-four lines are thus emphasized. It was Jonson's practice to put direct quotations in italics. 1. 2. 54 Satvmia. I. e., daughter of Saturnus, Juno, 1. 2. 58 sing some mourning straine, etc. Gifford quotes Milton's Lycidas 12—4, as an imitation of this passage: He must not float upon his watery bier Unwept, and welter to the parching wind. Without the meed of some melodious tear. 1. 2. 59 obtaine. For this absolute use of obtain, cf. Tindale, 1 Cor. 9. 24: ' So runne that ye maye obtayne.' 1. 2. 63 musicque from the spheares. This theory of Pythago- ras was a favorite of the EHzabethans ; cf. T. Night 3. 1. 120— 1 : I had rather hear you to solicit that Than music from the spheres. For a full discussion of the idea see Cook, Notes on Milton's Ode on the Morning of Christ's Nativity {Trans. Conn. Academy of Arts and Sciences, vol. 15, July, 1909), pp. 342—4. 1. 2. 68 diuision. See Glossary, and cf. Vision of Delight, Wks. 7. 293: And crested lark doth his division run; Rom. and Jul. 3. 5. 29: Some say the lark makes sweet division; 1. Hen. IV, 3. 1. 210-1: Sung by a fair queen in a summer's bower, With ravishing division, to her lute. 1. 2. 85 Niobe. Niobe, in the pride of her twelve children, scorned Latona, who, though a goddess, had given birth to but two. Apollo and Diana avenged this insult to their mother by slaughtering Niobe's children. Niobe herself was borne away in a hurricane to Phrygia: 174 Cynthias Revels [act i Ibi fixa cacumine montis Liquitur, et lacrymas etiamnum marmora manant. Ovid, Met. 6. 311.-2. Professor Cook has pointed out to me the possibility that this removal of the weeping Niobe to the brink of the fountain of Self-Love may have been suggested to Jonson by Chap- man's Ovid's Banquet of Sense (1595) 19—23: Stone Niobe, whose statue to this fountain. In great Augustus Caesar's grace was brought, From Sypilus, the steep Mygdonian mountain; That statue 't is, still weeps for former thought, Into this spring Corinna's bathing place. For Niobe's allegorical significance, see Introduction, pp. XX vi ff . 1. 2. 86 Phoebe. Diana. 1. 3. 4 I am neither your Minotaure, etc. I. e., I am no loathsome monster (as your precipitous flight from me would make it appear), but a mere man, a traveler. Amorphus mentions only monsters possessed of human characteristics. Hyenas were greatly dreaded as having the power of counter- feiting human speech, by which means they enticed men from their houses and devoured them; cf. C. is Altered 5. 1, p. 380: 'O what hyena caU'd me out of doors?' 1. 3. 8 I guess' d it should bee some trauailing motion pursude Eecho so. Baskervill {Eng. Elements in Jonson's Early Comedy, pp. 245—6) enumerates many plays in which echo songs and scenes appear, and concludes by remarking that Jonson in this passage 'satirizes his own device as the peculiar fad of the puppet-show,' Our Punch-and-Judy shows bear a striking likeness to the motions or puppet-shows which delighted the Eliza- bethans. The figures were moved about by an 'interpreter,' who, as his title implies, had also the duty of furnishing either a dialogue or a running commentary. In the T. of a Tub (5. 5, pp. 221-4) and in Bar. Fair (5. 3, pp. 482-508), Jonson has furnished us with two excellent examples of how these shows were actually conducted. For a full discussion, see Alden's Bar. Fair, Introd., pp. xv— xviii, and p. 212. ACT i] Explanatory Notes 175 1. 3. 17 I am a Rhinoceros, etc. For an interesting parallel to this speech, see Introduction, p. Ixxiii. 1. 3. 28 a beautifull and braue-attir'd peece. Cunning- ham says : ' Jonson is very fond of using this word in what (in certain circles) is its present sense. This is worth noting, as it is never so employed by Shakespeare.' He then cites Alchem. 2. 1, p. 68: 'Fore God, a Bradamante, a brave piece; also Voip. 1. 1, p. 172; D. A. 3. 1, p. 87; 5. of News 1. 2. p. 185; Mag. Lady 4. 1, p. 75; ibid. 5. 2, p. 93. But the meaning of piece in all these cases (except the last, where we have the usual modern sense) is nothing more than person, personage, individual. This sense, though now archaic or dialectal, was common during the 14th, 15th, and 16th cent- uries, and was used by Shakespeare, as the following citations show : Pericles^. 2. 47— 9 : ' Master, I have gone through for this piece, you see : if you Uke her, so ; if not, I have lost my earnest.' Cf. also Troil. and Cres. 4. 1. 62; Tit. Andron. 1. 309; Tempest 1. 2. 56. 1. 3. 31 refin'd by trauell. Travel had suddenly gained a tremendous vogue ; and the affected manners and dress of the traveler, acquired abroad, soon made him a stock figure for ridicule. Cf. Shakespeare's acute satire in ^s You Like It 4. 1. 33—41; Bacon's essay Of Travel (conclusion); and Ascham's opinion of Italian travel, quoted in note on 1. 4. 125. 1. 3. 32 able to tender the face of any states-man lining. The quarto reads make ; the expression is sufficiently explained in 2. 3. 11 ff., where Amorphus makes divers faces for Asotus' instruction. 1. 3. 34 sixth returne vpon venter. This has reference to a strange custom of Elizabeth's time, which the hazards of travel had given rise to. A man insured himself when going abroad by depositing a certain sum, which was restored to him doubled, trebled, or even, as here, sextupled, upon his safe return. In Every Man In (2. 1, p. 70) Puntarvolo says: 'I do intend, this year of jubilee coming on, to travel: and because I will not altogether go upon expense, I am determined 176 Cynthias Revels [act I to put forth some five thousand pound, to be paid me five for one, upon the return of myself, my wife, and my dog from the Turk's court in Constantinople. If all or either of us miscarry in the journey, 't is gone : if we be successful, why, there will be five and twenty thousand pound to entertain time withal.' Shakespeare refers to the practice in the Tempest (3.3. 43—8) : When we were boys, Who would believe that there were mountaineers Dew-lapp'd Uke bulls, whose throats had hanging at 'em Wallets of flesh? or that there were such men Whose heads stood in their breasts? which now we find Each putter-out of five for one will bring us Good warrant of. For a further discussion, cf. Furness, Tempest, pp. 179—81. 1. 3. 36 the true lawes of the duello. See note on 4. 5. 96. 1.4— For the relation which this scene bears to the anony- mous play Timon, see Introduction, pp. Ixxii ff. 1. 4. 4. Nee plaeere diu, etc. Horace, Ep. 1. 19. 2. Jonson sHghtly misquotes — Horace has Nulla plaeere. 1. 4. 6 Helicon. A mountain in Bceotia, sacred to the Muses, in which rose the fountains of Aganippe and Hippocrene ; by 16th and 17th century writers often confused with these. — NED. 1. 4. 17 That's to be argued. That's a matter for argument, for disagreement. 1. 4. 18 Encomio Demosthenis. § 15 (tr. Fowler 4. 150) : CaUisthenes remarked of iEschylus that he wrote his tragedies in wine, which lent vigour and warmth to his work. With Demosthenes it was otherwise ; he composed not on wine but on water. 1. 4. 24 Indeed (I thinke) next a trauailer, he do's prettily well. Jonson was unquestionably an admirer of Lucian, as his adaptation of the Dialogues of the Gods, ante, 1. 1, shows; in Exploraia, Lucian is quoted several times. 1. 4. 28 Duke of Ferrara's bottles. The dukes of Ferrara maintained an important position among the nobles of Italy till the province over which they ruled was united to the Papal domain in 1598, ACT i] Explanatory Notes 177 1. 4. 30 Philargsrrvs. ^ikccQyvQog, fond of money, covetous. 1. 4. 51 pray you make this gentleman and I friends. Cun- ningham notes this objective use of /. Toward the end of the 16th and in the 17th century, it was very frequent, and not considered ungrammatical (NED.). Jonson used it elsewhere; cf. Every Man In 5. 1, p. 143: 'Step. O, yes, uncle; Brainworm has been with my cousin Edward and I all this day.' Abbott says certain cases where / is used for me may represent an effort to gain euphony and emphasis, though '"Tween you and I" seems to have been a regular Elizabethan idiom' (§ 205). 1. 4. 84 ragioni del stato. ' Discourse of state,' as the quarto has it; Gifford cites William Cartwright, Ordinary 1. 4 (Dods- ley's 0. PI. 12. 229), where Hearsay, 'agent of princes' is described: if he were dissected, every state would be found within him, 'and ragioni di Stato reek in all.' Bacon uses the phrase in Advancement of Learning, p. 178. 1. 4. 94-6 As also their reUgion, in pulling downe a super- stitious crosse, and aduaneing a Venvs, or Priapvs, in place of it ? ' This alludes to the practices of the Puritans. Stow tells us, that many of the lower images belonging to the cross in Cheapside were frequently broken, or pulled down ; and partic- ularly, that about the year 1596 "under the image of Christ's resurrection defaced, was then set up a curiously wrought tabernacle of grey marble ; and in the same an image alabaster of Diana, and water conveyed from the Thames prilling from her naked breast."' — W. {Survey of London, p. 261.) If Jonson really had this incident in mind, his reflection is not on the Puritans, who may or may not have torn the images down, but on the city officials, who, instead of replacing them, substituted a statue of Diana. Priapvs was the Greek and Roman god of procreation. 1. 4. 97 hospitall. Stow {Survey of London (written 1598), p. 434—6) gives a brief account of the ' Hospitals in this City and Suburbs thereof that have been of old Time, and now presently are.' At the time of his writing, seven of the twenty he mentions had been suppressed; four of the seven were 'endowed by the Charity and benevolence of the citizens of M 178 Cynthias Revels [act i London.' Some had originally been founded as insane asylums and refuges for lepers, but those remaining at this time all filled the office of poorhouses. 1. 4. 98 so many buckets bestow'd on his parish church. The invention of the fire-engine will soon make this allusion unintelligible. The buckets were hung up in the parish church to extinguish fires, just as 'escapes' now stand in some churchyards. — C. 1. 4. 102 posts. 'The sheriffs had posts set up before their door, on which proclamations were fastened, which it was usual, out of respect, to read bare-headed.' — W. Cf. W. Tale 3. 2. 102-3: myself on every post Proclaim'd a strumpet; T. Night 1. 5. 156-7: 'he says, he '11 stand at your door like a sheriff's post.' 1, 4. 114 His eye waters after it. A similar pun on the word humorous is found in 1. 3. 23. 1. 4. 119 ribband. The quarto ha.s Rose. Roses were knots of ribbon, used as shoe-ties. Sometimes the gallants wore them of huge size; in D. ^. 1. 2, p. 19, Fitzdottrel thus speaks of the roses which Pug (a devil disguised as a gallant) wore : My heart was at my mouth, ' Tin I had view'd his shoes well : for those roses Were big enough to hide a cloven foot. 1. 4. 125 as I am vertuous (being altogether vn-trauePd), etc. The double meaning is apparent. Jonson doubtless shared Roger Ascham's well known opinion of Italian travel : ' Italie now, is not that Italie, that it was wont to be : and therefore now, not so fitte a place, as some do counte it, for yong men to fetch either wisedome or honestie thence.' — Scholemaster, p. 223—4. 'And now chose you, you Italian English men, whether you will be angrie with us, for caUing you monsters, or with the Italianes, for callyng you devils, or else with your owne selves, that take so much paines, and go so farre, to make your selves both.' — Ibid., p. 229. ACT i] Explanatory Notes 179 1. 4, 132 I protest, sir. Deemed at this time a highly absurd and affected expression: cf. Marston, What You Will 2. 1. 76-8 (p. 347): O this hot crackhng love. That blazeth on an instant, flames me out On the least puff of kindness, with 'protest, protest!' For other instances, see Dyce's Glossary to Shak. The word occurs very frequently in this play, and generally in a speech of obvious affectation. 1. 4. 147 or so. I. e., or about as you would go. This indef- inite use of so was not, as now, employed particularly in reference to number; it occurs often in Jouson's works; thus in Every Man Out 1. 1, p. 33, Sogliardo says: 'I will take occasion of sending one of my suits to the tailor's, to have the pocket repaired, or so.' my intelligence shall quit my charge at all times. 'I.e., what I learn will always be at least equal in value to my expenses.* — C. 1. 4. 151 beauer. 'Howell sends home one from Paris (Letter 17) as a great rarity.' — G. {Familiar Letters of James Howell 1. 46.) Beavers were worn by women as well as men ; cf . Mag. Lady 5. 2, p. 93: You shall have a new, brave, four-pound beaver-hat, Set with enamell'd studs, as mine is here. Sixty years later they were still highly esteemed, and very costly; Pepys {Diary 2. 56) says: 'This day Mr. Holden sent me a bever, which cost me £4 5s.' Later {ibid. 2. 212) he tells us he was troubled by the ' badness ' of a hat he had borrowed to save his beaver. 1. 4. 153 After your French account? A quibbhng allusion to the French (venereal) disease, whose affection of the scalp was known as French crown. Shakespeare often alludes to it; cf. Meas. for Meas. 1. 2. 46 ff. : Lucio. I have purchased as many diseases under her roof as come to Sec. Gent. To three thousand dolours a year. M2 i8o Cynthias Revels [act i First Gent. Ay, and more. Lucio. A French crown more. Cunningham cites Upton, Observations on Shak. (London, 1746), p. 163. 1. 4. 157 your band is conceited too! Band generally meant collar, but the sense here is probably hatband; hatbands, features of an up-to-date gallant's costume, are several times mentioned by Jonson; cf. Every Man Out 4. 4, p. 145: ' I had on a gold cable hatband, then new come up, which I wore about a murrey French hat I had.' Dekker {Guls Horn- booke, Pr. Wks. 2. 234) gives this advice to gallants: 'Put off to none, unlesse his hatband be of a newer fashion then yours, and three degrees quainter.' The quarto has Button instead of band. For a while buttons had been superseded by laces and points; when this was written they were once more gaining their lost popularity. Planche says : ' They were made as now, of gold, silver, brass, and other metals, horn, mother- of-pearl, ivory,' etc. {Cyclo. of Dress 1. 67). 1. 4. 163 aJter the Italian manner. 'L e., with a hope to have it refused.' — G. 1. 4. 183 be not so sad, be not so sad. * Probably the burden of some forgotten song.' — Dyce, Remarks, p. 280 1. 4. 186 it will take any blocke. Like our panama hats; see Dekker, Guls Horn-booke, Pr. Wks. 2. 234, where he dec- lares a gallant should be contemned who does not ' know what fashioned block is most kin to his head.' 1. 4. 188 It hath these vertues beside. The story of the magic hat was transmitted to England by the Volksbuch of Fortu- natus. This tale was used in a play called the First part of Fortunatus, which in 1596 had great success at Henslowe's Theatre (Herford, Lit. Rel. of Eng. and Germany, pp. 210—1). In 1599, Dekker rewrote the play; this earlier version may have given Jonson his idea, but cf. Old Fortunatus, pp. 111—2: Fort. A course felt Hat? is this the precious Jewel? Sould. He not exchange this, for ten Diadems. . . . Fort. But now uncover the vertues of this Hatte. . . . Sould. You see tis poore in shew; did I want Jewels, ACT ii] Explanatory Notes l8i Gold could beget them, but the wide worlds wealth Buyes not this Hat; this clapt upon my head, I (onely with a wish) am through the ayre. Transported in a moment over Seas, And over lands to any secrete place. That the story of Fortunatus' hat was a favorite with Jonson is shown by his mention of it elsewhere: C. is Altered 1. 2, p. 321; Fortunate Isles, Wks. 8. 69. Baskervill {English Elements in Jonson's Early Comedy, pp. 242—4) points out a number of parallels between Cyn. Rev. and Old Fortunatus. 1. 5. — Criticvs. The single instance where Jonson forgot to change from the quarto reading to Crites. 1. 5. 8 How happily hath fortune furnisht him with a whetstone ? See note on Induct. 72, and 2. 3. 105, where a similar joke is had at the expense of Amorphus. In 5. 11. 112, Cos is called 'the trauellers euill.' 1. 5. 33 a man. It is odd that the superfluous a slipped into the carefully edited folio. It was properly omitted by the editor of the 1716 edition and by subsequent editors. 1. 5. 49—54 Gifford says: 'This passage is well abridged by Pope {Essay on Man, Ep. 2. 217-8): Vice is a monster of so frightful mien As, to be hated, needs but to be seen.' Pope had, of course, not this passage, but one from Dryden, in mind {Hind and Panther 1. 33—4). 1. 5. 64 And no one saw the motion, but the motion. ' As if we were without spectators, and none but the puppets saw the puppet-show.' — G. He supports this interpretation from the quarto, where motion is in both places distinguished by itahcs and capitals. ACT II 2. 1. 4 since wee are tum'd cracks. See Glossary, and In- duct. 156 and 174. Shakespeare uses the word twice; cf. Coriol. 1. 3, 73—4: ' Val. Indeed, la, 't is a noble child. Vir. A crack, madam.' Whalley quotes He5rwood, Four Prent. of Lond. 1.1.253: i82 Cynthias Revels [act li It is a rogue, a wag, his name is lacke, A notable dissembling lad, a Cracke. 2. 1. 22 page, boy, and sirha: these are all my titles. Cf. 4. 5. 140-1. 2. 1. 42 monkie. In Jonson's day monkeys shared with lap-dogs the honor of being fashionable pets ; notice Tabitha's remark in Armin's Two Maids of More-clacke (Grosart's Occasional Issues 13. 108—9): I am a blood of gentle composition, . . . I must have fancies, playfellowes, as apes, Monkies, baboones. In the Palinode (5. 11. 189) Phantaste prays Mercury to de- fend her from perfumed dogs, sparrows, and parrots, as well as from monkeys. 2. 1. 45 his bathing-tub is not suspected. I. e., to have been used for the cure of the 'French disease.' This practice was deemed a fit subject for jest in the time of Elizabeth, Beaumont and Fletcher having at least four whimsical allu- sions to it. 2. 1. 49 himseUe is a rimer, and that's a thought better then a poet. Cf. Explorata, Wks. 9. 215: 'The common rhymers pour forth verses, such as they are, ex tempore; but there never comes from them one sense worth the life of a day. A rhymer and a poet are two things.' 2. 1. 56—8 more . . . then come to the lanching o! some three ships. In Eastward Hoe 3. 2. 17—24 {Belles-Lettres Series), Jonson ( ?) alludes to the crowds which were attracted to the launching of a ship: Gazer: Did you see the new ship lancht last day, Mistresse Fond? Fond. O God! and we cittizens should loose such a sight ! Gaz. I warrant here will be double as many people to see her take coach as there were to see it take water. 2. 1. 59 he do's hire a stocke of apparell, etc, Baskervill {Eng. Elements in Jonson's Early Comedy, pp. 273—4) has pointed out Jonson's obligation in this character-sketch to ACT ii] Explanatory Notes 183 Nashe's primrose knight of Primero (Lenten Stuffe, Wks. 3. 148—9) : ' His purse is on the heild and only fortie shillings hee hath behinde, to trie his fortune with at the cardes in the presence; which if it prosper, the court cannot containe him, but to London againe he will, to revell it, and have two plays in one night, invite all the Poets and Musitions to his chamber the next morning; where, against theyr comming, a whole heape of money shall bee bespread uppon the boord, and all his trunkes opened to shewe his rich sutes.' do's. In Elizabethan Enghsh no rule had been estabUshed for the insertion or omission of do and did. Cf. Abbott, § 306. 2. 1. 61 He's thought a verie necessarie perfume for the presence, etc. Cf. Shirley, Lady of Pleasure 2 2, p. 33: Celestina. He is full of powder; He will save much in perfume for my chamber. Were he but constant here. 2. 1. 68 how many shirts he has sweat at tennis. No more popular nor aristocratic pastime existed. Henry VII, Henry VIII, and Charles II were all devoted to the game (Strutt, Sports and Pastimes, p. 94), and even Bacon advocated it. Stow, in describing the sports of Old London, says: 'The ball is used by noblemen and gentlemen in tennis courts, and by people of meaner sort in the open fields and streets' {Survey of London, p. 119). Cf. Nashe, Lenten Stuffe, Wks. 3. 148: 'What then ? he payes for the ten dozen of balles hee left uppon the score at the tennis court ' ; and Dekker, Guls Horn-booke, Pr. Wks. 2. 240: 'how often you have sweat in the Tennis- court with that great Lord.' 2. 2. 8 he has the philosophers stone. The discovery of the Philosopher's Stone, to which was attributed the property of turning base metals to silver or gold, was the chief end of alchemy. Jonson's most powerful comedy is the Alchemist, a satire on alchemy and the swindles connected with it. See Hathaway 's ed. of the Alchemist, Introduction. 2. 2. 28 nicke. See Glossary. 2. 2. 46 shee alwayes weares a muffe. The use of a muff solely as a protection against the cold seems to be a late 184 Cynthias Revels [act n development. Here it is worn indoors as an ornament, and was apparently so worn even in the eighteenth century, since we find Sophia, in Tom Jones, Bk. 5, chap. 4, troubled, as she played the harpsichord, by having her muff slip over her hand. Muffs were first used in France in the latter part of the sixteenth century, whence they were introduced into Eng- land. They were made of satin or velvet, lined and trimmed with fur (Planche, Cyclo. of Costume 1. 373), and if we may judge from engravings of the time, were similar in form to those used to-day. They were sometimes perfumed ; cf. Dekker, Match me in London, Dram. Wks., p. 153: 'Shopkeeper. Is the imbrodered Muffe perfum'd for the Lady?' Men as well as women used them in the seventeenth century; cf. Pepys, Diary 2. 380: 'This day I first did wear a muff, being my wife's last year's muff, and now I have bought her a new one, this serves me very well.' 2. 2. 48 for your hands haue wit enough to keepe themselues waime. Proverbial; cf. Heywood, Wise-woman of Hogsdon 2.1, p. 295: 'You are the Wise- woman, are you? and have wit to keepe your selfe warme enough, I warrant you.' — G. 2. 2. 54 aboue all your potato's, or oyster-pyes in the world. 'Oysters still retain their reputation [as an aphrodisiac], but faith in the potato has departed.' — C. 2. 2. 59 Cioppini. 'A kind of high slippers for low women.' — Cotgrave. They were worn in Spain about 1600, and though Itahan dictionaries do not have the word, they must have been fashionable there for a time, since travelers describe them, and English writers preferred the Italian spelling. This reference suggests Cory at' s account (cited by Gifford), of which Jonson later made extensive use in Z). /I. 4. 1, p. 106 ff. Coryat {Crudities 1 . 400) describes the ' Chapineys ' of the Venetians, which they wore under their shoes, gilded affairs of such height that women of wealth had servants accompany and support them to keep them from falling. 'I saw a woman fall a very dangerous fall,' he relates, 'as she was going down the staires of one of the Uttle stony bridges with her high Chapineys alone by her self: but I did nothing pitty her, be- cause shee wore such frivolous and . . . ridiculous instruments.' ACT II] Explanatory Notes 185 2. 2. 63 pride will haue a fall. Cf. Prov. 16. 18 : 'Pride goeth before destruction, and a haughty spirit before a fall'; and Richard II 5. 5. 88: 'Since pride must have a fall.' 2. 2. 66 poesies for rings. 'A motto inscribed on the inner side of a ring. The fashion of putting such "posies" on rings prevailed from the middle of the 16th to the close of the 17th century. Inscriptions on the outside of rings have been common from the old Greek and Roman times.' — Rolfe (quoted in Furness' Mer. of Venice, p. 259). Cf. Shirley, Lady of Pleasure 1.1, p. 15: 'This ring was her's. . . . You borrowed it to copy out theposj^.' In 4. 5. 115 of our play, Asotus proudly confesses that he has devised as posy for a ruby ring : Let this blush for me. 2.2.11 he has two essentiall parts of the courtier, pride, and ignorance. Cf. Dekker, Satiromastix, Dram. Wks., p. 244: Horace. Why, would you make me thus the ball of scorne? . . . Tucca. He tell thee why, because thy sputtering chappes yelpe, that Arrogance, and Impudence, and Ignoraunce, are the essentiall parts of a Courtier. 2. 2. 81 blush no more then a sackbut. Proverbial; NED. quotes Trapp, Comm. on Ezra 9. 6: 'But he is past grace that is past shame, and can blush no more then a sackbut.' 2. 2. 89 Hee neuer drinkes below the salt. 'He never drinks to those at the lower end of the table. It refers to the rhanner in which our ancestors were usually seated at their meals. The tables being long, the salt was commonly placed about the middle, and served as a kind of boundary to the different quality of the guests invited. Those of distinction were ranked above; the space below was assigned to the dependents, or inferior relations of the master of the house.' — W. Gifford adds that the salt-cellar was of very large size, so that the mortification of the humbler guests was complete. Those below the salt sometimes fared ill, if we may trust a passage in Beaumont and Fletcher, Woman-Hater 1. 2, p. 17, which mentions 'great, cumbersome, uncut-up pies at the nether end, filled with moss and stones, partly to make a show with, and partly to keep the lower mess from eating.' Dekker {Guls i86 Cynthias Revels [act il Horn-booke, Pr. Wks., 2. 244) speaks of sitting 'one degree towards the Equinoctiall of the Salt-seller.' 2. 2. 90 gold-laee, or tissue. For tissue, see Glossary. Gold and silver lace was so extensively worn by the nobility that by 1629 it was being made in England more cheaply than in Venice, a city long celebrated for its production (Planche, Cyclo. of Costume 1. 332—4). 2. 2. 94 neuer kneeles but to pledge healths. It was a com- mon custom to kneel when drinking healths. Notice the following expressions of Jonson's thought: Marmion, Anti- quary 2. 1 (Dodsley's 0. PL 13. 441): Drank to your health whole nights in hippocras Upon my knees with more religion Then e'er I said my prayers: which Heaven forgive me; Prynne, Healthes: Sicknesse, pp. 11—12: 'Witnesse the com- mon practice of many ; who are more frequent, serious, solemne, and devout upon their knees in the bottome of a Seller at their Healthes, then ever they are at their prayers in their Clossets, or Families. . . . Now to be thus scrupulous, solemne, exact, and serious, in drinking Healths with bended Knees . . . what is it, but ... to pervert and abuse those solemne, reve- rend, and religious gestures ; which we should appropriate, and principally reserve to God.' In 1628 William Prynne pubhshed a pamphlet of 125 pages, in which he condemned the drinking of healths, with great energy, enforcing his arguments by the Scriptures, by councils, and by ' the verdict of prophane and heathen writers.' He laid great force on the argument that duels and quarrels were the outgrowth of this 'healthing,' since it was the practice for one gallant to command another to pledge his health or fight him, and on the plea that it led to excessive drinking; his arguments on the latter point sound strangely like those used against student drinking-customs in Germany to-day. Although Jonson was a heavy drinker himself {Conversations, Wks. 9. 416), he was sane enough to see the excess into which this drinking of healths was leading men, and honest enough to oppose it. ACT II] Explanatory Notes 187 2. 2, 95 He wil blaspheme in his shirt. The fact that Jonson's characters are so generally addicted to the use of oaths must not be taken to indicate that Jonson himself sanctioned the practice. Here, for example, he mentions swearing as a vice, and in his Epistle to a Friend [Wks. 8, 360) he gives this final piece of advice: And last, blaspheme not; we did never hear Man thought the valianter, 'cause he durst swear. 2. 2. 99 to a friend in want, etc. Gifford quotes Juvenal, Sat. 7. 74: Non habet infelix Numitor quod mittat amico, Quintillse quod donet habet. 2. 2, 100 soldred groat. Cunningham quotes from a Scotch Act of Parhament, A. D. 1489: 'It is ordanit that the said gold or silver sal. be ressaifit be all his liegis, sa that it keip all the wecht, and be gude trew mettell, suppois it be with crak or flaw or soldit.' 2. 3. 1 You are now within in regard of the presence. 1. e., imagine yourself in the presence-chamber, being viewed by the assembly. Presence was applied both to the state-room in the palace where the courtiers received their monarch, and occasionally, as here, to those assembled in such a room. The quarto reads simply 'within regard,' etc., and all editions subsequent to the folio have dropped the unnecessary in; it probably represents a corruption, though the sense remains perfect either way. 2. 3. 6 when the wolfe enters. See 2. 3. 78, and note. 2. 3. 14 those, which hold the face to be the index of the mind. Not an uncommon idea from early times; cf. Cicero, de Or. 3. 59. 221 : ' Animi est enim omnis actio, et imago animi vultus, indices oculi.' Shakespeare gives us the opposite view in Macbeth 1. 4. 12-3: There's no art To find the mind's construction in the face. 2. 3. 17 euery your most noted. Every was not uncom- monly used for all. See Abbott, § 12, and cf. Bacon, Advance- i88 Cynthias Revels [act ii ment of Learning, p. 178: 'Learning ministereth in every of them greater strength of medicine.' 2. 3. 31 intricate face. Cf. Earle, Microcosmographie, p. 66: An Attorney: 'His skin becomes at last as dry as parchment, and his face as intricate as the most winding cause.' 2. 3. 43 as it went with a vice. // is imphed in the subjunc- tive; so in Macbeth 1. 4. 11: 'As 'twere a careless trifle'; see Abbott, §§ 107 and 102. This is a reference to the Vice, the stock buffoon in the old moralities ; cf. C. is Altered 2. 4, p. 340 : 'using their wryed countenances instead of a vice, to turn the good aspects of all that shall sit near them, from what they behold'; and Every Man Out, Induct., p. 19. 2. 3. 49 Somewhat a northerly face. This phrase, which was added in the folio, is to me inexplicable; one would expect, from the context, 'southerly face.' 2. 3. 50 ut-. See Glossary. 2. 3. 66 quaint kind of melancholy. The degree to which this absurd affectation was practiced is shown by Jonson's many references; cf. Volp. 2. 2, p. 370: 'Daw. I'll be very melancholy, i' faith' ; Every Man Out 5. 4, p. 181 : '5og, Ay, and bring up supper ; for I am so melancholy' ; Every Man In 3. 1, p. 63: 'Step. Ay, truly, sir, I am mightily given to melan- choly. Mat. Oh, it's your only fine humor, sir; your true melancholy breeds your perfect fine wit, sir. I am melancholy myself, divers times, sir, and then do I no more but take pen and paper, presently, and overflow you half a score, or a dozen of sonnets at a sitting.' Other dramatists ridicule this prac- tice; cf. King John 4. 1. 13—6: Arth. Methinks no body should be sad but I: Yet, I remember, when I was in France, Young gentlemen would be as sad as night. Only for wantonness. 2. 3. 70 place your mirrour in your hat. 'They must have their looking glasses caryed with them whersoever they go. And good reason, for els how cold they see the devil in them ? for no doubt they are the devils spectacles to allure us to pride, & consequently to destruction for ever.' — Stubbes, Anatomy ACT ii] Explanatory Notes 189 of A buses, p. 79. Gifford says : 'Both sexes wore them publicly, the men, as brooches, or ornaments in their hats; and the women at their girdles, on their breasts, or attached to fans.' 2. 3. 78 Lupus in — . Like our ' talk of the devil,' etc. Cf. Cic. Ait. 13. 33a: 'DeVarrone loquebamur; lupus in fabula; venit enim ad me.' 2. 3. 90—1 He walkes most commonly with a cloue, or pick- tooth in his mouth. The chewing of cloves was apparently common, even in Jonson's day ; cf . Masque of Christmas, Wks. 7. 265: 'Why, I have cloves, if it be cloves you want, I have cloves in my purse, I never go without one in my mouth.' The use of toothpicks, which was a custom newly introduced from abroad, receives much ridicule. Thus in Beaumont and Fletcher, Queen of Corinth 2. 4, p. 430: Now you that trust in travel, And make sharp beards and little breeches deities. You that enhance the daily price of toothpicks, etc.; and in Honest Man's Fortune 5. 3, p. 443: You have travell'd like a fiddler to make faces. And brought home nothing but a case of toothpicks. 2. 3. 94 his beard an Aristarchus. A thrust at his hyper- critical affectation. Aristarchus, a celebrated Greek gram- marian who lived about 156 B. C, was noted as a severe critic of the Homeric poetry, many lines of which he rejected as spurious. Jonson had no high opinion of him, to judge from Every Man Out, Induct., p. 19: How monstrous and detested is't, to see A fellow, that has neither art nor brain, Sit hke an Aristarchus, or stark ass. 2. 3. 99 ten constables are not so tedious. Constables were proverbially dull; cf. Glapthorne, Wit in a Constable 4. 1, p. 222: Bus. Now, or never Busie Shew thy selfe a true sparke, that Constables Hereafter may be thought to have some wit, More than is in their staffe. igo Cynthias Revels [act ii The 'two foolish officers,' Dogberry and Verges, in Much Ado, are, of course, the classic examples, though the idea is every- where met with in the literature of this time. 2. 3. 104 lowder then most clockes. Clocks were being imported from Germany, and their clumsiness and cumber- some machinery are often referred to; cf, L. L. L. 3. 1. 192—3: A woman that is like a German clock, . Still a-repairing, ever out of frame. 2. 3. 106 Zani. See Glossary. 2. 3. 110 hee. Amorphus. 2. 3. 160 Citherea. Venus; she received this name from the island of Cythera, which was celebrated for her worship, and near which, according to some traditions, she rose from the sea-foam. 2. 3. 164 that affords but an ill blazon. The heraldic tinc- tures are of three classes, the metals, the colors, and the furs. A blazon is a description of a coat of arms, phrased in technical heraldic terms. A metal may be placed upon a color, or a color upon a metal, or either upon a fur, or a fur upon either; but to charge a field of any tincture with a bearing of a tincture of the same class, i. e., a metal upon a metal, a color upon a color, or a fur upon a fur, is false heraldry (condensed from Nason, Heralds and Heraldry in Ben Jonson's Plays, p. 79). 2. 3. 169 A Nymph, etc. Jonson's Epistle to Elizabeth, Countess of Rutland {Wks. 8.267) has a partial personification of 'almighty gold' which reminds one of this character of Argurion. For Jonson's debt to Aristophanes, see Intro- duction, p. Ixiv. 2. 3. 183 alchemist. See note on 2. 2. 8. 2. 4. 1 fanne. Fans first appeared in England in Ehzabeth's reign ; they were made of feathers, and hung at the girdle from a gold or silver chain. Gosson's Pleasant Quippes jar Upstart Newfangled Gentlewomen (1595), p. 7, contains a dehghtful satire upon them. Were fannes, and flappes of feathers fond, to flit away the flisking flies, As taile of mare that hangs on ground, when heat of summer doth arrise. ACT li] Explanatory Notes 191 The wit of women we might praise, For finding out so great an ease. But seeing they are stil in hand, in house, in field, in church, in street. In summer, winter, water, land, in colde, in heate, in drie, in weet, I judge they are for wives such tooles As babies are in playes for fooles. 2. 4. 16 a strange word, etc. Probably an allusion to Mar- ston's 'fustian' vocabulary. In Poetaster 5. 1, pp. 490—2, at Crispinus' (Marston's) trial, a poem, full of the outlandish words which Marston used, is produced and read; Crispinus admits the authorship. Later a physic is administered to him which causes him to disgorge a score or two of these words. In Every ManOutS. 1, pp. 95—6, Clove is made to speak a fustian dialect which includes words used by Marston in Histriomastix and the Scourge of Villanie (see Introduction, p. xlv). H. C. Hart supposes some of Jonson's satire on strange words to be aimed at Gabriel Harvey [Notes and Queries, Ser. 9, vol. 12, pp. 342 ff.). 2. 4. 17 wroong it in. In Astrophel and Stella XV, Sidney advises poets not to wring into their verse every flower they have found growing on old Parnassus. 2. 4. 20 Shee will tell you, Philosophie, etc. Moria, in her folly, believes herself comparable to Philosophy, and by asserting that the latter was a reveler in her youth, seeks to justify her own early life of frivolity. 2. 4. 23 also, what a sweet dogge shee had, etc. This seems to be Folly's way of characterizing her lost opportunity. 2. 4. 67 I had worne it almost a day. This desire for variety and change in costume, if we may believe Harrison, was not confined to the court; see his Elizabethan Eng., pp. 107—8: ' Sith the phantastical folly of our nation (even from the courtier to the carter) is such that no form of apparel Uketh us longer than the first garment is in the wearing, if it continue so long. . . . And as these fashions are diverse, so Ukewise it is a world to see the costliness and the curiosity, the excess and the vanity, the pomp and the bravery, the change and the 192 Cynthias Revels [act ii variety, and finally the fickleness and the folly, that is in all degrees, insomuch that nothing is more constant in England than inconstancy of attire.' Stubbes [Anatomy of Abuses, p. 50) remarks on the same restless desire for change in costume : * To begin first with their Hattes, . . . now red, now greene, now yellowe, now this, nowe that, never content with one colour or fashion two dayes to an ende.' 2. 4. 70 'Tis after the Italian print. Gifford suggests Hahiti Antichi e Moderni di Cesar e Vecellio, Venice, 1589. 2. 4. 75 to burne juniper in my chamber. 'The seeds and wood were formerly burnt as purifiers of the air.' — NED. Deliro in Every Man Out (p. 6) is in the habit of sacrificing twopence of juniper to his wife every morning. 2. 4. 78—9 retainers . . . Suburbe-sunday-waiters . . . courtiers for high dayes. The court-ladies undoubtedly felt themselves greatly superior to all other women; these are probably terms of contempt for such as had no regular place at court, but paid their homage there on high days (holidays and special occasions). The badly regulated outer parts of the cities, where prostitutes and scamps assembled, were termed suburbs; and the name was always equivalent to low or mean, provided it bore no worse implication. 2. 4. 108 The Nymphs that make her traine. We hear little enough of these virtuous ladies, but Jonson is obviously under the necessity of mentioning some such personages in order to make clear that the Queen's own circle is of a different stamp from Philautia, Moria, and Phantaste. 2. 5. Beggars' Rime, 10 Fadingers. A fading was a sort of Irish dance, still popular in Ireland in 1800, when Malone investigated and described it in an effort to explain Shake- speare's reference to it in W. Tale 4. 4. 195. See discussion in Furness' W. Tale, pp. 208—9. 2. 5. Beggars' Rime, 11 Thomalins. I have been unable to determine the meaning of this word ; a query sent to Sir James Murray brought no answer, which leads me to believe that he is also ignorant of its meaning. 2. 5. 20 vpon the rushes. Till the 17th century the floors of apartments were strewn with green rushes; cf. 3. 1. 25. ACT III] Explanatory Notes 193 2. 5. 25 dish of eeles in a sand-bagge. A proverbial ex- pression ; it occurs in Middleton, Roaring Girl 4. 1, p. 97; 'wriggle in and out, like an eel in a sand-bag.' ACT III 3. 1. 3 young grammatical! courtier. I. e., one still studying the rudiments of courtship; another designation for the courtier elementarie of 2. 3. 49. 3. 1. 25 a rush. See note on 2. 5. 20. 3. 1. 34 you must frequent ordinaries. The ordinary, as the Elizabethan tavern or eating-house was called, must have been a good place to acquire 'self-confidence.' Dekker, in chap. 5 of the Guls Horn-booke, entitled ' How a yong Gallant should behave himself e in an Ordinary,' gives the following advice : ' Being arrived in the roome, salute not any but those of your acquaintance: walke up and downe by the rest as scornfully and as carelesly as a Gentleman-Usher. . . . Dis- course as lowd as you can, no matter to what purpose if you but make a noise. . . . When you are set downe to dinner, you must eate as impudently as can be (for thats most Gentleman- like) when your Knight is upon his stewed mutton, be present- ly, though you be but a capten, in the bosome of your goose. . . . You may abuse the workes of any man ; deprave his writings that you cannot equall, and purchase to your selfe in time the terrible name of a severe Criticke' {Pr. Wks. 2. 238—43). 3. 1. 80 frame of a woolfe in the hangings. I. e., the outline of a wolf woven into the arras or tapestry curtains which hung on the walls of the apartment. 3. 2. — For a detailed discussion of the satire in this and the following scene, see Introduction, pp. 1 ff. 3. 2. 3 candle-waster. Cf. Much Ado 5. 1. 16-8: Bid sorrow wag, cry 'hem!' when he should groan, Patch grief with proverbs, make misfortune drunk With candle-wasters. Whalley, by reference to Jonson's usage, attempted to settle the dispute over the meaning of candle-waster in this passage from Shakespeare. He has failed to convince many scholars ; N 194 Cynthias Revels [act hi cf. Much Ado (ed. Furness), p. 241. Revelers are, of course, just as truly candle-wasters as are bookworms. 3. 2. 11 he smels all lamp-oyle. Scholarship and lamp-oil were early associated; cf. Plutarch, Demosthenes (Dryden's Trans. 5.8):' Pytheas once, scoffing at him, said that his argu- ments smelt of the lamp.' 3. 2. 16 dormouse: he is in a dreame now. Cf. New Inn 1.1, p. 324: I was the laziest creature, . . . The veriest drone, and slept away my life Beyond the dormouse. 3. 2. 29 gentlemen-vshers. Jonson often refers to these servants, and brings one upon the stage in the person of Am- bler, gentleman usher to Lady Tailbush in D.A . Nares {Gloss- ary) says they were originally state-officers, attendant upon queens and other persons of high rank, but later employed by persons of distinction, especially ladies. For further infor- mation, see Nares' Glossary, and Johnson's ed. of D.A., pp. 195-6. 3. 2. 38 outsides. Not uncommonly used for outer garments ; cf . Beaumont and Fletcher, Love's Cure 3. 2, p. 151 : Malr. My lord has sent me outsides. But thou shalt have 'em; the colours are too sad. Pio. Faith, mistress, I want clothes indeed. 3. 2. 39 without a sute of bu£fe, to defend my wit. Ser- jeants, sheriffs' officers, and constables often wore a jerkin of tough buff-colored leather. Thus clothed, Anaides feels he can compel Crites to show a proper respect for his wit. 3. 2. 40 he does nothing but stab the slaue. A comma is necessary after stab; it was restored in the ed. of 1640, but oddly enough sUpped out in that of 1692, and did not reappear until Whalley once more restored it, with the quaint remark, 'No slave appears whom Crites had treated in this manner: we must reform the pointing to make out the sense.' 3. 3. 18 Chrestvs, Evthvs, or Phronimvs. I. e., men characterized by honesty, frankness, and prudence. 3. 3. 25 The one, a hght voluptuous reueller, etc. See Intro- duction, p. xlix. ACT III] Explanatory Notes 195 3. 3. 43 Their enui's like an arrow, etc. Jonson may be indebted to Lyly's Endimion for this simile; in 5. 1, p. 68, we find : ' Envie with a pale and megar face . . . stood shooting at starres, whose darts fell downe againe on her owne face.' For Jonson's obligation to Endimion elsewhere in Cyn. Rev., see Introduction, p. Ix. 3. 4. — This scene really consists of a collection of character- sketches ; they are in verse, but in other respects they do not differ essentially from those found in Act 2. See Intro- duction, pp. Ixvi ff. 3. 4. 4 The strangest pageant, fashion'd like a court, etc. See Introduction, p. xxxvii. 3. 4. 11 thiiftie roome. Flourishing and productive, perhaps, in the sense of possessing so many and such varied 'formes.' 3. 4. 13 fore-top. Fops of the day took great pride in their foretops, long locks of hair, natural or attached to a wig, which were fantastically arranged on their foreheads; cf. Every Man Out 3. 1, p. 91 : 'You must first have an especial care so to wear your hat, that it oppress not confusedly this your predominant, or foretop; because, when you come at the presence-door, you may with once or twice stroking up your forehead, thus, enter with your predominant perfect; that is, standing up stiff.' See also 5. 4. 151. 3. 4. 15 speake More darke, and doubtful!. Adjectives were freely used as adverbs; cf. Abbott, § 1. 3. 4. 30 knowes the time Of gluing titles, and of taking wals. I. e., knows when to be obsequious, and when arrogant. To take the wall : To pass one on that part of the road nearest the wall (this, when there were no sidewalks, was to take the safest and best position, usually yielded to the superior in rank); hence, to get the better of in any way [CD.). 3. 4. 32 court-common-places. Polished and elegant phrases suited to courtly discourse. It was a practice of the time to record expressions which took the fancy in common- place books; the latter were studied, and the phrases memorized and employed in conversation. Cf. Marston, Scourge of Villanie (3. 372), Sat. 11, where he speaks of one who N2 196 Cynthias Revels [act hi Hath made a common-place booke out of playes, And speakes in print. In the Induction to the Malcontent (p. 200) the custom is mentioned : Tire-man. An 't please you to go in, sir, you may. Sly. I tell you, no: I am one that hath seen this play often, and can give them inteUigence for their action: I have most of the jests in my table-book. 3. 4. 38 ambition. Pronounced in four syllables; see note on Prologue 1. 3, 4. 42 Protevs. The fabled 'old man of the sea,' son of Oceanus and Tethys, who could assume any shape he desired. In the Masque of Beauty {Wks. 7. 25), Jonson calls him 'the gray prophet of the sea'; in Neptune's Triumph [Wks. 8. 27), 'father of disguise.' 3. 4. 52 That onely to his crimes owes all his worth. The quarto gives us the original Latin line from Juvenal, Sat. 1. 75. 3. 4. 54—5 glazing of his face . . . perfuming of his haire. So often in Shakespeare; cf. Lear 2. 1. 41: 'Mumbling of wicked charms.' See Abbott, § 178. 3. 4. 57 Like an vnperfect prologue, at third musike. Like a speaker of the prologue, who, not having his part perfectly, is muttering it over to himself when the signal (third music) summons him to the stage. 3. 4. 62 As he would kisse away his hand in kindnesse. One is reminded of a line in Shakespeare's description of Boyet, L. L. L. 5. 2. 323-4: Why, this is he That kiss'd his hand away in courtesy. 3. 4. 68 spend his patrimonie for a garter. Garters at this time were small silken sashes tied in a large bow or provided with a buckle. We read of diamond buckles, and garters worth more than five pounds. Gosson {Pleasant Quippes for Upstart Gentlewomen, p. 10) mentions 'silken garters fring'd with gold.' ACT III] Explanatory Notes 197 3. 4. 84 enforce the common'st sense abhorre. For the omis- sion of to, see Abbott, § 349. 3. 4. 85 Araehnean workers. Arachne, a Lydian weaver, having aroused Athene's displeasure by spinning into her web pictures of the amours of the gods, was turned into a spider (Ovid, Met. 6. 5-145). 3. 5. — This whole scene, as well as a large part of the remainder of the play, is devoted to ridicule of the pseudo- courtship indulged in by the gallants of the time. According to Roger Ascham, it was introduced from Italy. His character- ization of it is extremely significant : ' Our Italians bring home with them other faultes from Italic, though not so great as this of Religion, yet a great deale greater, than many good men can well beare. For commonlie they cum home, common contemners of mariage and readie persuaders of all other to the same: not because they love virginitie, nor yet because they hate prettie yong virgines, but, being free in Italic, to go whitherso ever lust will cary them, they do not like, that lawe and honestie should be soch a barre to their like libertie at home in England. And yet they be, the greatest makers of love, the dayhe daliers, with such pleasant wordes, with such smilyng and secret countenances, with such signes, tokens, wagers, purposed to be lost, before they were purposed to be made, with bargaines of wearing colours, floures, and herbes, to breede occasion of offer meeting of him and her, and bolder taking of this and that &c. And although I have seene some, innocent of all ill, and stayde in all honestie, that have used these thinges without all harme, without all sus- picion of harme, yet these knackes were brought first into England by them, that learned them before in Italie in Circes Court: and how Courtlie curtesses so ever they be counted now, yet, if the meaning and maners of some that do use them, were somewhat amended, it were no great hurt, neither to them selves, nor to others' {Scholemaster, pp. 235—6). 3. 5, 6 palace of your pleasure. A phrase suggested, perhaps, by William Painter's Palace of Pleasure (1566). 3. 5. 19 stifle. I. e., stifle 'a sigh or two,' from 10 above. 3. 5. 28 Lindabrides, etc. In 1578 Margaret Tiler translated igS Cynthias Revels [act III a Spanish romance, the adventures of the Knight of the Sun (belonging to the Amadis de Gaul cycle) into English, under the title, 'The Mirrour of Princely deedes and Knighthood.' The work has been attributed to Diego Ortunes, Pedro de la Sierra, and others (Dunlop, History of Fiction 1. 377). The EngHsh translation became at once extremely popular, as the numerous references in Elizabethan literature attest, and Lindabrides, the name of the heroine, was soon used allusively for 'lady-love,' 'mistress.' According to the tale, the Knight Meridian was loved by his sister, Lindabrides, as well as by the maiden Clarinda, to whom he was finally wedded. For a contemporary evidence of its vogue, cf. Overbury's character of a chambermaid {Wks., p. 101): 'She reads Greenes works over and over, but is so carried away with the Mirror of Knight- hood, she is many times resolv'd to runne out of her selfe, and become a lady errant.' 3. 5. 39 rosie-finger'd hand. After the Homeric Qo6o6dx- Tvkoq; thus Spenser, Faerie Queene 1. 2. 7: 'The rosy fingred Morning faire.' 3. 5. 64 let not the rigour of your lust disdaine, thus coursly censure of your seruants zeale. Gifford restores the itahcs of the quarto, though Jonson doubtless did away with them in the folio precisely because he knew that these lines did not represent a direct quotation ; for one phrase, however, he is indebted to Kyd, Spanish Tragedy 1. 4. 71—2 (p. 17): He shall, in rigour bf my iusf disdaine, Reape long repentance for his murderous deed. 3. 5. 92 Your pedant should prouide you some pareells of french, or . . . Italian. Amorphus never loses the opportunity^ to air his own knowledge of languages; cf. 1. 4. 81, 143; 5. 4. 250. Many passages of this play are re-echoed in Dekker's Guls Horn-booke; cf. Pr. Wks. 2. 239: 'That will be an excellent occasion to publish your languages, if you have them : if not, get some fragments of French, or smal parcels of Italian, to fling about the table : but beware how you speake any Latine there: your Ordinary most commonly hath no more to do with Latine then a desperate town of Garison hath.' ACT nil] Explanatory Notes 199 3. 5. 105 ambiguous. The use of ambiguous probably repre- sents a blunder on the part of Asotus in his effort at courtly discourse. 3. 5. 117—8 And will, in time, returne, etc. An adaptation of Kyd, Spanish Tragedy 2. 1. 7—8 (p. 21). And she in time will fall from her disdaine, And rue the sufferance of your freendly paine. These lines form a substitute for the less suitable ' // ever you have seene great TAMBURLAINE,' of the quarto. In Ex- plorata, Wks. 9. 159, Jonson comments on the bombastic language which he here ridicules, and thus describes that which the 'true artificer' should use: 'Though his language differ from the vulgar somewhat, it shall not fly from all humanity, with the Tamer-lanes, and Tamer-chams of the late age, which had nothing in them but the scenical strutting, and furious vociferation, to warrant them to the ignorant gapers.' Despite this sharp criticism of Marlowe's style, it is Jonson whom we must thank for the famous expression, 'Marlow's mighty hne' [Master William Shak., Wks. 8. 318). 3. 5. 141 courting-stock. Like laughing-stock; in 5. 4. 619, Mercury addresses the ladies who have been the objects of a series of ' courting-bouts ' as 'my Madame Courting- stocks' ; the expression occurs again in the New Inn 1. 1, p. 326. ACT IIII 4. 1. 17 good for vs ladies. 'Argurion alludes to the old proverb: "Far fet (fetched) is good for ladies."'— G. Cf. Beaumont and Fletcher, Wit at Several Weapons 2. 2, p. 31 : 'And far-fetched; therefore good for you, lady.' 4. 1 . 33 some Lavra, or some Delia. Laura was celebrated by Petrarch in nearly three hundred sonnets. Samuel Daniel's sonnet-series to Deha appeared in 1592. Jonson seems to have esteemed neither poet greatly. Cf. Conversations (Wks. 9. 370) : ' He cursed Petrarch for redacting verses to Sonnets ; which he said were like that Tirrant's bed, wher some who were too short were racked, others too long cut short ' ; and ibid., p. 366: 'Samuel Daniel was a good honest man, . . . 200 Cynthias Revels [act iiii but no poet.' For other references to Daniel, see Every Man In 5. 1, p. 146; Epiccene 2. 1, p. 359; and 5. of News 3. 1, p. 236. 4. 1. 50 a Venetian tminpetter, i' the battaile of Lepanto. On Oct. 7, 1571, the Itahan and Spanish fleets defeated the Turks west of Lepanto. ' The quarto reads Dutch trumpeter, which was well corrected in the folio.'— G. 4. 1. 63 poste-boies home. Remarkable, no doubt, for its loud and strident tone. When Truewit came to plague Morose, he armed himself with a post-horn and a halter {Epiccene 2. 1, p. 354). 4. 1. 67 Andromeda. Cassiopea, Andromeda's mother, having boasted that her daughter's beauty surpassed that of the Nereids, Poseidon sent a sea-monster to ravage the country. Andromeda was chained to a rock on the coast to appease the monster, but was rescued by Perseus (Ovid, Met. 4. 662-751). 4. 1. 72 A long heele. In the Plain Dealer 2. 1, p. 406 [Mermaid), we find Lord Plausible declaring that Lady Frances possessed 'the handsomest heel.' In Jonson's time, and later, a shapely heel was apparently considered a physical attraction. 4. 1. 74 hee puts off the ealues of his legs. Dekker [Guls Horn-booke, Pr. Wks. 2. 230) speaks of a gallant ' that would strive to fashion his leggs to his silke stockins.' 4. 1. 109 0, but his short haire. In the reign of Henry VIII, short hair had been fashionable, as a result of an order from the King that all his attendants and courtiers should poll their heads (Planche, Cyclo. of Dress 1. 243), but at this time long hair was acquiring great popularity among the nobility. 4. 1. 114 a most neate barber-surgeon. The barbers and surgeons had a joint company at this time, and the same individual often followed both professions. 4. 1. 126 Goe to, Beauties, make much of . . . place, and occasion. In 5. 6. 63, place, and occasion are characterized as 'priuie theeues,' which 'from poore innocent ladies often steale ... an honourable name.' ACT nil] Explanatory Notes 201 4. 1. 129 I know it out of future experience. Cf. note on 4. 4. 16. 4. 1. 142—60 'The good old lady had been looking into Ju- venal.'— G. Moria's speech isanexpansionof Juvenal6.402— 6: Haec eadem novit, quid toto fiat in orbe; Quid Seres, quid Thraces agant; secreta novercse Et pueri; quis amet, quis diripiatur adulter. Dicet, quis viduam praegnantem fecerit, et quo Mense; quibus verbis concumbat quaeque, modis quot. The same idea was employed again in Epiccene 2. 1, p. 359: ' [She] never weighs what her pride costs, sir ; so she may ... be a stateswoman, know all the news, what was done at Salis- bury, what at the Bath, what at court, what in progress.' 4. 1. 149 who put off their teeth, etc. Mrs. Otter was such a person, if we may believe her husband {Epiccene 4. 1, p. 417) : ' All her teeth were made in the Black-friars, both her eye- brows in the Strand, and her hair in Silver-street. Every part of the town ownes a piece of her. . . . She takes herself asunder still when she goes to bed, into some twenty boxes; and about next day noon is put together again, like a great German clock.' Cf. also Overbury's character of a chamber- maid : ' She is her mistresses she secretary, and keepes the box of her teeth, her hair, and her painting very private' {Wks., p. 101). 4. 1. 171 if I saw a better face then mine owne, I might haue my doctor to poyson it. A practice described in the romances of the time; cf. Sidney, Arcadia, p. 28 (London, 1867): 'The wicked Demagoras . . . rubbed all over her face a most horrible poison, the effect whereof was such that never leper looked more ugly than she did.' 4. 1. 186 come vp to terme, to see motions. Previous to 1873 the superior courts of England held four annual sessions of about three weeks each, known as Hilary, Easter, Trinity, and Michaelmas, at which times country folk of means flocked to London for business and amusement. Cunningham quotes a sentence from the ' Character of Sogliardo' in Every ManOuf, p. 7 : ' He comes up every term to learn to take tobacco, and see new motions.' 202 Cynthias Revels [act iiii 4. 1. 189 taste my ladies delights to her. I. e., perhaps, to chat and gossip with her mistress over the latter's amours or escapades, a function which the maid in later comedy so often performed. 4. 1. 197 saue my selfe in 'hem still. I. e., encourage them enough to keep them still hoping and courting. 4. 1. 204 I would see how Loue . . . could worke, etc. Baskervill {Eng. Elements in Jonsons Early Comedy, p. 243) calls attention to the similarity between Phantaste's remarks on love and those of Agripyne in Old Fortunatus, p. 131 : ' We had all rather die then confesse wee love ; our glorie is to heare men sigh whilst we smile, to kil them with a frowne, to strike them dead with a sharpe eye, to make you this day weare a Feather, and to morrow a sicke nightcap: Oh, why this is rare, there's a certaine deitie in this, when a Lady by the Magicke of her lookes, can turne a man into twentie shapes.' 4. 1. 211 a third, with play-ends. It had become an affectation, due in part to the immense popularity of the drama, to introduce brief quotations from well-known plays into one's conversation; thus Asotus, in 3. 5. 117—8, uses a play-end from the Spanish Tragedy. Marston ridicules this practice in What You Will 2. 1. 126 (p. 349): A horse! a horse! My kingdom for a horse! Look thee, I speak play-scraps. For commonplace and table-books into which the play-ends were copied, preparatory to being memorized, see note on 3. 4. 32. 4. 1. 212 stabbing himself e, and drinking healths. ' To show their devout attachment to their mistresses, young men frequently punctured their arms with daggers, and mingling the blood with wine, drank it off to their healths. The drink- ing of a liquor mixed with blood was in very ancient times esteemed a rite of high solemnity, as may be seen in Sallust and Livy: of such ceremonials this seems to have been an i mitation . ' — N ares . I question whether Nares is right in tracing the practice back to Roman times. I find no reference in Livy to the ACT iiii] Explanatory Notes 203 drinking of human blood mixed with wine, and in Sallust but one — where CatiHne used this method to impress his fellow conspirators with the solemnity of their league: 'Dicerent, Catilinam . . . humani corporis sanguinem, vino permixtum, in pateris circumtulisse' {Bellum Catilinarium 22). Sallust refers to it as an infamous action. In the Palinode of our play, Amorphus prays Mercury to save him 'from stabbing of arms.' Cf. also Dekker, Honest Whore, Part I, p. 38: How many Gallants have drunke healths to me, Out of their dagger'd armes ! ; Marston, Dutch Courtezan, 4. 1, pp. 69—70: 'I have . , . stabb'd arms, and done all the offices of protested gallantry for your sake.' 4. 2. 33 Who answeres the brazen head? A reference to Greene's Friar Bacon and Friar Bungay (1594), or to the prose tract on which the former was founded, The Famous Historie of Fryer Bacon, which relates ' How Fryer Bacon made a Brasen Head to speake, by the which hee would have walled England about with brasse.' 4. 2. 35 doe you interpret for these puppets ? The usual name for the showman who manipulated the puppets, and furnished the dialogue for them, was Interpreter ; see note on 1. 3. 8. 4. 2. 40 carroehes. Whalley notes that the quarto reads coaches, and adds, 'but that is only a smoother way of pronouncing the genuine word.' Relying, apparently, on this, Gifford prints coaches. But there is abundant evidence that the names were not synonymous; the distinction shown in the following quotation might well have induced Jonson to change to carroche: Green's Tu Quoque (Dodsley's 0. PI. 11. 202): Nay for a need, out of his easy nature, May'st draw him to the keeping of a coach For country, and caroch for London. 4. 2. 43 conniue. 'Dekker ridicules Jonson for the use of this word in his Satiromastix. ... As the poet is evidently imitating the affected jargon of the ladies of the court, it may 204 Cynthias Revels [act iiii be questioned whether his language be a legitimate object of satire.' — G. The passage occurs on p. 212: 'Asinus. I was but at Barbers last day, and when he was rencing my face, did but crie out, fellow thou makst me Conniue too long, & sayes he sayes hee, Master Asinus Bubo, you have eene Horaces wordes as right as if he had spit them into your mouth.' This passage from Satiromastix seems to indicate that Dekker, like Whalley and Gifford, failed to realize that Jonson intended Moria to misuse words. Close, suspend, and extraoy dinar ie, which also occur in this speech, were certainly put into her mouth by Jonson with humorous intent. For other similar errors on her part, see 4. 1. 129 and 4. 4. 16. 4. 3. 1 That was your fathers loue, the Nymph Argvrion. A mere play on names; in 1. 4. 30, his father is called Phil- ar gyrus. 4. 3. 19 hee cannot speake out of a dictionarie method. Cf. Sidney, Astrophel and Stella XV: You that do dictionary's method bring Into your rhymes, running in rattling rows; . . . You take wrong ways. Jonson's meaning is somewhat different from Sidney's, for the latter evidently has alliteration in mind. At this time there were, strictly speaking, no English dictionaries, i. e., such as gave both words and definitions in English, the first being Bullokar's English Expositor, 1616. Elyot's Latin- English Lexicon had, however, appeared in 1545, and was followed before 1600 by two others, together with several dictionaries of English and modern languages, such as Florio's Worlde of Words, 1598. 4. 3. 30 this purse (which I would be loth to sweare by, vnlesse 'twere embroider'd). At this time purses were small bags of leather or cloth, drawn together at the mouth with thongs or strings. 'A purse of crimson satin embroidered with gold is mentioned in the inventory of the contents of the palace at Greenwich, temp. Henry VI I L (Harleian MS. No. 1412.)'— Planche, Cyclo. of Cost. 1. 409. 4. 3. 74 some idle Fvngoso. Asotus is really a repetition ACT nil] Explanatory Notes 205 of the character of Fungoso from Every Man Out (p. 7), one who ' follows the fashion afar off, like a spy,' and with all his efforts, never succeeds in attaining 'the courtiers' cut.' Gifford says servants of the highest rank customarily waited near or above the sideboard (cupboard). 4. 3. 81 riddles, or purposes. Baskervill {Eng. Elements in Jonson's Early Comedy, pp. 275—6) cites several passages where these games are mentioned; cf. Gascoigne, Poems 1. 47: 'This royall banquet thus passed over, the Aucthor knowing that after supper they should passe the tyme in propounding of Ryddles, and making of purposes, contrived all this con- ceipt in a Riddle as foUoweth.' 4. 3. 85 Prophecies. A sample of this game is given in 2. 2. 56 ff. 4. 3. 91 But doe not you change, then? The punctuation should be, not an interrogation-point, but a period. Each must think of an adjective before the game commenced, and not change in the progress of answering. 4. 3. 119 brokers stalls. Pawnbrokers' stalls. The gallants were often reduced to the necessity of bartering their fine garments for cash. Rowlands {The Letting of Humours Blood in the Head-Vaine, Epig. 5) gives an amusing account of a gallant in this predicament: Alas, Delfridus keepes his bed, God knowes. Which is a signe his worships very ill: . . . Yet doth he eate, drinke, talke, & sleepe profound. Seeming to all mens Judgements healthfull sound. Then gesse the cause he thus to bed is drawne. What ? thinke you so ; may such a happe procure it ? Well; fayth t'is true, his Hose are out at pawne, A Breetchlesse chaunce is come, he must indure it: His Hose to Brokers layle committed are. His singuler, and onely. Velvet payre. 4. 3. 135 you giue them to your Barber. Cf. Nashe, Lefiten Stuff e, Wks. 3. 148: 'Hee sendes for his Barber to depure, decurtate, and spunge him, whome having not paide a twel- month before, he now raines downe eight quarter angels into his hande, to make his liberalitie seeme greater, and gives him 2o6 Cynthias Revels [act iiii a cast riding ierkin and an olde Spanish hatte into the bargaine, and Gods peace bee with him.' 4. 3. 146 Pythagoricall, by reason of their transmigration. Pythagoras, a Greek philosopher born in Samos 582 B. C, held the doctrine of the transmigration of souls; though this notion has no important connection with his system of philos- ophy, it is that with which his name became chiefly associated. One might suppose that such a joke would be lost on an Elizabethan audience, but the word was fairly common in this sense; cf. Middleton, Trick to Catch the Old One 4. 5, p. 337 : ' Pythagorical rascal ! ... he changes his cloak when he meets a sergeant.' 4. 3. 155 Not so, ladies, neither. Abbott supposes the not uncommon double negative to be a result of the desire for emphasis (§ 406). 4. 3. 204 these vnhappie pages would be whipt. Require to be whipped. See Abbott, § 323, and cf. Macbeth 1.7. 32-4: I have bought Golden opinions from all sorts of people, Which would be worn now in their newest gloss. 4. 3. 224 As sure as fate, 't is so, etc. Anaides is referring to his suspicion expressed in 208—10 above. 4. 3. 228 his Hermaphrodite. Gelaia, who, though a girl, masquerades as a page. 4. 3. 268 the Emperour. By seventeenth-century writers, the Emperor of Germany was called simply 'the Emperor.' During the sixteenth century the Holy Roman Empire reaUy did include a vast territory; the courts of such monarchs as Maximihan I and CharlesV doubtless at times numbered many princely visitors, though Jonson's enumeration of kings and nobles here is of course for humorous effect. 4. 3. 289 feature. The quarto reading is creature; feature was probably preferred in the folio as being more foppish and artificial; see Glossary. 4. 3. 299 golden legacie. Jonson may have had the title of Lodge's Rosalynde: Euphues' Golden Legacie (1590) in mind. ACT nil] Explanatory Notes 207 4. 3. 305 I composde this ode, and set it to my most affected instrument, the l3^a. Music formed a chief means of recreation for courtiers of the day, both men and women; cf. Ascham, Scholemaster, p. 217: 'The pastimes that be fitte for Courtlie lentlemen. To daunce cumUe: to sing, and playe of instru- mentes cunnyngly.' Harrison {Eliz. Eng., p. 219) thus describes the pastimes of the court-ladies : ' The youngest sort in the meantime apply their lutes, citherns, pricksong, and all kind of music, which they use only for recreation's sake when they have leisure, and are free from attendance upon the queen's majesty.' 4. 3. 322 I care not to admit that. The meaning apparently is, I care not if I admit, i. e., allow, your request to be granted; the quarto has do for admit. 4. 3. 360 you with the pencill on your chinne. Beards trimmed into a sharp point were often worn. ' WiU you have your beard like a spade, or a bodkin ? ' asks Motto, the barber, in Mydas (3. 2, p. 29). In Beaumont and Fletcher, Queen of Corinth 2. 4, p. 430, it is said that travelers make sharp beards their deities. Taylor, the Water Poet, devotes not less than twenty-six lines in his SuperhicB Flagellum (p. 34) to a de- scription of the fashions in beards. He mentions beards of every conceivable shape, including some cut in . . . sharpe Stelletto fashion, dagger Uke, That may with whispering a mans eyes out pike. 4. 3. 362 fireworkes. Though known at an earlier date, they were not extensively used till the time of Elizabeth. Elaborate pyrotechnic exhibitions were prepared at various times for the amusement of nobles or of the monarch. Strutt [Sports and Pastimes, p. 374) prints a contemporary de- scription of such an exhibition given at Ann BuUen's coro- nation. In a galley on the Thames 'was a great red dragon, continually moving and casting forth wild- fire; and round about . . . stood terrible, monstrous, and wild men, casting of fire and making a hideous noise.' Rockets and the like were also used. 2o8 Cynthias Revels [act hi I 4. 3. 406 No, in faith, but there's my gloue for a fauour, etc. Cf. Samuel Rowlands, Doctor Merrie-man (1609), sig. C3v: To give my Glove unto a Gull, Is mighty favour found: When for the wearing of the same, It costs him twenty pound. My Garter as a gracious thing, Another takes away: And for the same a silken Gowne, The Prodigall doth pay. 4. 3. 415 shooe-ties, and deuices. By devices are probably meant various ornamental trifles of masculine dress, such as garters and brooches. Elizabethan shoe-ties were in harmony with the generally gay attire; Dekker {Match me in London, p. 157) mentions 'rich spangled Morisco shoo-strings.' Cf. also Every Man Out, Induct., p. 17: 'A yard of shoe-tye.' 4. 3. 421 you shall bee no more Asotvs to vs, but our gold- finch. A punning remark, called forth by Asotus' effort to buy the courtiers' friendship. Small {Stage-Quarrel, p. 51) cites several other instances of this play on words ; cf . Middle- ton, Blurt, Master Constable 4. 1. 9— 11 (p. 69), where Curvetto thus speaks of his purse: Or if this gold-finch, that with sweet notes flies, And wakes the dull eye even of a puritan. Can work, then, wenches, Curvetto is the man. 4. 3. 440 this must needes bring Argvrion to a consump- tion. A play on words: money is consumed, Argurion (the nymph) is attacked by a wasting disease. 4. 4. 16 epitaphs. The quarto has 'Epithites,' which, of course, Moria means. In 2. 4. 15—7, Jonson describes her as ' like one of your ignorant Poetasters of the time, who when they have got acquainted with a strange word, never rest till the)^ have wroong it in ' ; this she does, particularly in her speeches in 4. 1. 126—33 and 4. 2. 37—48, though her misuse is not consistent enough to prevent Whalley and Gifford from offering an emendation for at least one of her malapropisms (cf. Wks. 2. 282, note). As Cunningham points out, a similar use of epitaph for epithet is put into the mouth of the cobbler, ACT nil] Explanatory Notes 209 Juniper, in theC. is Altered. Cunningham believes Sheridan is indebted to Jonson for Mrs. Malaprop's 'nice derangement of epitaphs' {Rivals 3. 3, p. 41, Camelot Series). 4. 5. 22 shee is the extraction of a dozen of Puritans. Not a very serious reflection on the Puritans when we consider that it is Arete who is thus stigmatized; in Bar. Fair, in the Alchem., and in the Sad Shep., they receive as rough treatment as the courtiers do here. 4. 5. 24 I cannot away with her. ' I cannot endure her.'— G. So in Poetaster 3. 1, p. 434: 'Do not bring your eating player with you there; I cannot away with him.' 4. 5. 38 infanted, with pleasant trauaile . With this phrase Jonson is poking fun at the poetaster John Southern ; it is part of a line of verse from his Musyque of the Beautie of his Mistress Diana. The whole line runs : ' And of an inge- nious invention, infanted' etc. This identical line is quoted by Puttenham in his Arte of English Poesie (Arber, pp. 259—60), in order to illustrate Southern's ridiculous use of gallicized words. Southern was born in England. ' He seems to have been educated in France, whence he returned to his native country to follow the profession of a musician. . . . Southern's lack of literary power, his impudent thefts from Ronsard, and his gallicised vocabulary exposed him to much ridicule' (DNB.). His volume of verse mentioned above was published in 1584; only two copies are known, and it has never been re- printed. 4. 5. 96 hold his publique Act, by open challenge, etc. Jonson makes this contest of courtship do double duty, in ridiculing the elaborate rules of fencing and dueling, and the extravagance of courtly etiquette not less elaborate. The terms bare Accost, bitter Regard, etc., remind one at once of Touchstone's Retort Courteous, Quip Modest, and Reply Chur- lish, which were used when quarreling 'in print, by the book' {AsYou Likelt 5. 4. 71 ff.). Jonson may have in mind Vincen- tio Saviolo's Practise in two books, the first intreating of the use of the Rapier and Dagger, the second of Honor and Honorable quarrels, London, 1595, the only original English treatise on 210 Cynthias Revels [act iiii the art of fence in the 16th century. To the ItaHan, French, and Spanish masters of the profession, the EngUshmen seemed at this time perfect barbarians in the use of their rapier, and Saviolo frankly came over to instruct them. He soon became popular with the nobility, but the sturdy EngUshman of the middle class looked on him with suspicion or held him in contempt. It is the man created by Saviolo's style of in- struction that Shakespeare ridicules inRom. and Jul. 2. 4. 20—7 : 'O, he is the courageous captain of complements. He fights as you sing prick song, keeps time, distance, and proportion ; rests me his minim rest, one, two, and the third in your bosom : the very butcher of a silk button, a duellist, a duellist; a gentleman of the very first house, of the first and second cause : ah, the immortal passado ! the punto reverso ! the hai ! ' This was not the art to which Jonson had recourse when, in the face of two armies, 'he had killed an enemy and taken opima spolia from him,' or, ' being appealed to the fields, . . . had killed his adversarie [Gabriel Spenser], which had hurt him in the arme, and whose sword was 10 inches longer than his.' {Conversations, Wks. 9. 388). Indeed, he must have had a warm sympathy for George Silver's Paradoxe of Defence (1599), a bitter attack on the popular Itahan and his methods; this wide-spread opposition is shown by the following selection from Silver's works (quoted by Castle, Schools and Masters of Fence, p. 89) : ' We, hke degenerate sonnes, have forsaken our forefathers vertues with their weapons, and have lusted like men sicke of a strange ague after the strange vices of Italian, French and Spanish fencers, little remembering that their apish toyes could not free Rome from Brennus' sack, nor France from Henrie the fifth his conquest.' For definite expressions of Jonson's feehng, see the A Ichetn. (4. 1. p. 124), where he makes Subtile profess his abiUty to teach 'both the grammar, and logic, and rhetoric of quarrehng,' and Every Man In (4. 5, p. 115), where Bobadill reels off a Ust of dueUng terms, all of which significantly bear Itahan names: punto reverso, stoccata, etc., and especially An Epigram To William, Earle of Newcastle, on his fencing, Wks., 9. 15—6, a poem of unusual passion: ACT v] Explanatory Notes 211 They talk of Fencing, and the use of arms, The art of urging and avoiding harms, The noble science, and the mastering skill Of making just approaches how to kill; To hit in angles, and to clash with time: As all defence or offence were a chime! I hate such measured, give me mettled, fire. That trembles in the blaze, but then mounts higher! A quick and dazzUng motion; when a pair Of bodies meet hke rarified air! Their weapons darted with that flame and force, As they out-did the lightning in the course; This were a spectacle, a sight to draw Wonder to valour! 4. 5. 125 by this feather. As he speaks these words, he probably points to a feather in his hat, a new feature in the dress of a gallant. This article of dress is humorously described in Father Hubburd's Tales (Dyce's Middleton 5. 566): 'His head was dressed up in white feathers like a shuttlecock, which agreed so well with his brain, being nothing but cork, that two of the biggest of the guard might very easily have tossed him with battledores, and made good sport with him in his majesty's great hall.' 4. 5. 137 vp in pantofles. Pantojle was applied especially to the high-heeled chopins (described in the note on 2. 2. 59). 4. 5. 140 I will haue a canzonet made, with nothing in it, but sirrah. Cf. 2. 1. 22 and 2. 3. 76-7. 4. 5. 146 without you had preuented the Fountayne. L e., unless you had forestalled the draughts from the Fountain of Self -Love. ACT V 5, 1. 12 No man is, presently, made bad, with ill. 'Nemo repente venit turpissimus.'^ — G. Juvenal, Sat. 2. 83. 5. 1. 31 true nobiUtie, eall'd vertue. 'Nobilitas sola est atque unica virtus.' — G. Juvenal, Sat. 8. 20. 5. 1. 38-9 Whom equall love hath lou'd, andPhoebvs form'd Oi better mettall, and in better mould. Gifford shows Jonson's indebtedness to Virgil and Juvenal, respectively, for these lines, 02 212 Cynthias Revels [act v Pauci, quos aequus amavit Jupiter. Mn. 6. 129-30. Quibus arte benigna Et meliore luto finxit prsecordia Titan. Sat. 14. 34-5. 5. 2. 4 Feare me not, I warrant you, sir. 'It should be observed that this strange petulance and forwardness in the once sheepish and timid Asotus, is the effect of the waters of the fountain of Self-Love.' — W. 5. 2. 20 now it is the part o! euery obsequious seruant, to be suie to haue daily about him copie, and varietie of colours. 'The gallants of the court (and perhaps of the city) carried about with them different colored ribands, that they might be prepared to place in their hats, or on their arms, the color in which their respective mistresses dressed for the day.' — G. Very little is known of the custom except what can be gleaned from chance allusions. Gifford quotes Marmion, Antiquary 2. 1 (Dodsley's 0. PI. 13. 441), where Aurelio bitterly re- proaches his mistress for scorning him after he has executed all her ' follies,' and even been so simple as to wear her ' fooHsh colors.' Shakespeare mentions the practice once, L. L. L. 3. 1. 190. Sidney {Astrophel and Stella LIV) classes the practice among those foolish outward signs of devotion which court-ladies considered indispensable: Because I breathe not love to ev'ry one, Nor do not use set colours for to wear; Nor nourish special locks of vowed hair; Nor give each speech a fuU point of a groan; The courtly nymphs, acquainted with the moan Of them, who, in their lips. Love's standard bear; What he? say they of me, now dare I swear, He cannot love: no, no; let him alone. " 5. 3. 6 Cit. By your leaue, etc. The citizen and his wife, who here make their only appearance, are evidently counterparts of Deliro and Fallace in Every Man Out. This scene does not appear in the quarto ; it is extremely odd that Jonson should have cared to summon these two characters back to Hfe, ACT v] Explanatory Notes 213 especially considering the insignificant part they play. Their names do not even appear among the dramatis personce. 5. 3. 77 wee would thinke foule scome. I. e., we would despise them utterly; a common expression in the 16th century; foule merely intensifies scorn. — NED. 5. 3. 90—111 'This bill is a parody on one of the Hcenses formerly granted by masters of defence to their pupils, when they were supposed to be properly qualified for taking either of their three degrees in the fencing-school, viz., a master's, a provost's, or a scholar's: indeed, the whole of this scene is a burlesque imitation of those public trials of skill in the " noble science of defence.'" — G. 5. 3. 91 from the white sattm reueller, etc. The phrase in parenthesis becomes more intelligible if we read it as though it followed courtship directl5^ instead of presents. The meaning then becomes : Be it known to all courtiers and revelers, from those who dress in white satin to such as wear cloth of tissue and a poniard, etc. 5. 3. 92 Vlysses-Polytropvs-Amorphvs. Alluding to Amor- phus' travels ; polytropus {jcokvTQOjrog) is the epithet of Ulysses in the Odyssey : much traveled, much-wandering ; see Od. 1. 1. 10, 330. 5. 3. 94 Acolastvs-Polypragmon-Asotvs. In other words, Asotus, the meddlesome prodigal. 'Axolagrog is properly licentious, butCockeram (1612) deiines A colasticke as a prodigall person {NED.), which is evidently the meaning here. IloXv- jiQccyficov: officious, a busybody. 5. 3. 106 bare Accost, etc. Suggestive of ' the personified graces of manner' found frequently in court-of-love poetry, as Bel Acueil,Dous Regard, Dous Parler, etc.; cf. BaskerviU, Eng. Elements in Jonson's Early Comedy, p. 231. two Wall-eyes, in a face forced. Apparently the bare Accost deserved no more than a stare from the lady. Shakespeare has wall-eyed twice, in this sense; cf. K. John 4. 3. 48-50: the vilest stroke, That ever wall-eyed wrath or staring rage Presented to the tears of soft remorse. 214 Cynthias Revels [act y 5. 3. 108 aFaiine wauing. A definite mark of favor, according to the standard of Elizabethan gallants; in Marmion, Anti- quary 2. 1 (Dodsley's 0. PI. 13. 442), Lucretia thus addresses her lover: And then, because I am familiar. And deign out of my nobleness and bounty To grace your weak endeavours with the title Of courtesy, to wave my fan at you, Or let you kiss my hand, must we straight marry? 5. 3. 110 Banquet. It consisted of kisses; see 5. 4. 543 ff., and note on 5. 4. 538. 5. 3. 118 Victus, victa, etc. Asotus' blustering way of declaring that everyone and everything have been conquered. 5. 3. 121 Take your state, vp, to the wall: And, ladie, may we implore you to stand forth. Gifford inserts, after ladie, the following stage direction: leading Moria to the state. He evidently assumes that the lady who was being courted occupied a chair of state. It is likely, however, that she stood during the contest, to judge from our passage above, as well as one in 5. 4. 281 : ' Please the well-grac'd Philautia to reUeve the lady sentinell; shee hath stood long.' In 5. 4. 104, Amorphus asks Moria if he may re-instate her, which at first sight might seem to mean reseat her, but which, no doubt, implies no more than lead hack to her position. State in the passage under consideration may mean merely position; it is not unlikely, however, that the contestants occupied special seats till the match began. See 5. 4. 64, where Amorphus asks Mercury to 'use the state, ordain'd for the opponent.' 5. 3. 123 as first terme, or bound to our courtship. Jonson means by term here, evidently, an object to be courted, a figure-head, as it were ; this meaning is derived from the old sense, a figure of Terminus, the god of boundaries. Jonson uses the word again in Chloridia {Wks. 8. 101), with the sense of figure, statue. 5. 3. 136 ' tis too dutch. He reeles too much. The rivalry between the English and Dutch during the 17th century gave rise in England to the use of Dutch with various opprobrious senses, especially as here, with the implication of unsteadiness ACT v] Explanatory Notes 215 from excessive drinking. Cf. Nashe, Pierce Penilesse, Wks. 1. 207: 'As their Countrey is overflowen with water, so are their heads ahvaies over-flowen with wine, and in their bellies they have standing quag-mires and bogs of English beere.' 5. 4. 15 so he may haue faire play. ' So is used with the future and the subjunctive to denote "provided that.'" — Abbott, § 133. Another instance, 1. 5. 48. 5. 4. 20 complementaries. ' Complementaries were masters of defence, such as Caranza, etc., who pubUshed elaborate works on the compliments and ceremonies of duelling.' — G. NED. (referring to this passage) wrongly defines the word 'a master of accomplishments.' 5. 4. 34 euen standing, carries meat in the mouth. I. e., furnishes entertainment, without any effort on his part; in other words, it is amusing just to look at him. The phrase usually means: to bring in money, to furnish profit; thus in Greene, Disput. Conny-catchers 10. 269: 'The oldest lecher was as welcom as the youngest lover, as he broght meate in his mouth.' NED. says the expression was perhaps originally used in regard to a hawk. 5. 4. 40 by this eUxi'r, or meere magazine of man. L e., the court, which either transforms men into courtiers, or serves as a storehouse for those already such. 5. 4. 44 This holds vp the arras. The usual duty of a courtier ; cf. Marston, What You Will 4. 1. 37-40 (p. 389) : ' He is a fine courtier, flatters admirable, kisses "fair madam," smells surpassing sweet ; wears and holds up the arras, supports the tapestry, when I pass into the presence, very gracefully.' 5. 4. 52 their beauties maintaine their painters, etc. Ladies' painting was a favorite object of satire. Stubbes {Anatomy of Abuses, p. 64) expresses himself characteristically: 'Think- est thou that thou canst make thy self fairer then God, who made us all? These must needes be their intentions, or els they would never go about to coulour their faces with such sibber-sawces. And these being their intentions, what can derogate more from the maiestie of God in his creation ? For in this dooing, they plainly convince the Lord of untrueth in 2i6 Cynthias Revels [act v his word, who saith he made man glorious, after his owne Hkenes, and fayrest of all other terrestiall Creatures.' He has much more in the same vein. Marston, in his Scourge of Villanie (3. 350—1), devotes a few lines to painting: Her mask so hinders me, I cannot see her beauty's deity. Now that is off, she is so vizarded. So steep'd in lemon's juice, so surphuled, I cannot see her face. Under one hood Two faces; but I never understood Or saw one face under two hoods till now: 'Tis the right resemblance of old Janus' brow. Sir John Davies has an epigram on the practice, In Dacum 15 : Dacus, with some good color and pretence. Terms his love's beauty 'silent eloquence'; For she doth lay more colors on her face Than ever TuUy us'd his speech to grace. 5. 4. 55 I desire to deserue before 'hem. I. e., be deemed worthy as a contestant by them, so that he may have the op- portunity to humble such disgraceful fops. 5. 4. 57 howsoeuer we neglect him. I. e., Crites. 5. 4. 78 our disgrace. I. e., our disgracing of Crites. 5. 4. 99 the carpe ha's no tongue. Carpe may be a slang epithet of the day, though it is not so recorded by NED., or the notion of dumbness in fishes w^as perhaps more prevalent then than it is with us; Jonson expresses it in the Hue and Cry after Cupid {Wks. 7. 97) : Last, in the Fishes' place, sits he doth say. In married joys, all should be dumb as they. Cf . also the common German expression : stumm ivie ein Fisch. Cunningham quotes Izaac Walton, Complete Angler (London, 1875), p. 144: 'Gesner says, carps have no tongue like other fish, but a piece of fleshlike fish in their mouth like to a tongue.' Perhaps this fact was known to Jonson ; if so, it would be like him to take pleasure in exhibiting this bit of knowledge by using carp instead of the generic term fish. 5, 4. 116 I haue seene the lyons. 'The dens of the Tower ACT v] Explanatory Notes 217 were great attractions for many generations of Londoners as the one place in London where such fearsome beasts as Hve lions could be seen.' — Boulton, Amusements of Old London 2. 55. Stow {Survey of London, p. 76) thus sketches the history of the first English ' zoo ' : ' But now for the Lion Tower and lions in England, the original, as I have read, was thus. Henry L built his manor of Woodstock, with a park, which he walled about with stone, seven miles in compass, destroying for the same divers villages, churches, and chapels; and this was the first park in England. He placed therein, besides great store of deer, divers strange beasts to be kept and nourished, such as were brought to him from far countries, as lions, leopards, lynxes, porpentines, and such other. More, I read that in the year 1235, Frederick the emperor sent to Henry HL three leopards, in token of his regal shield of arms, wherein three leopards were pictured; since the which time those lions and others have been kept in a part of this bulwark [the Tower], now called the Lion Tower, and their keepers there lodged.' Jonson refers to the Tower lions in the Masque of Augurs {Wks. 7. 409): Notch. I have seen the lions ere now, and he that hath seen them may see the king. Slug. I think he may: but have a care you go not too nigh, neighbour Notch, lest you chance to have a tally made on your pate, and be clawed with a cudgel; there is as much danger going too near the king, as the lions. 5. 4. 122 that blacke deuill there. See note on Induct. 95. 5. 4. 145 vouchsafe the tenure of this ensigne. It appears from this that the lady who was being courted held in her hand a banner of some sort while the contest was in progress. 5. 4. 151 Fore-top. See note on 3. 4. 13. 5. 4. 156 french curteau. Perhaps a purposely false render- ing of the French courtauld, a small spirited horse. The nose slit is probably a humorous extension of the idea involved in the curtal's docked tail and cropped ears. 5. 4. 162 solemne band-string. The cords which fastened the 17th century ruff or collar were called band-strings ; they 2i8 Cynthias Revels [act V were often ornamented or supplied with tassels. I do not know the significance of this expression. 5. 4. 164 a face like a stab'd Lvcrece. Gifford says : ' Perhaps the poet alludes to Purfoote the printer's sign of Lucretia, in St. Paul's church-yard. This lady, with the dagger at her breast, and a ridiculous expression of agony in her face, formed a vignette to most of his books.' In view of the popularity of Shakespeare's poem (1594) and the general knowledge of the historical incident, no such explanation is necessary. 5. 4. 171 horse-start out o' the browne studie. Possibly a rude and sudden advance. 5. 4. 172 bird-ey'd stroke. Bird-eyed occurs in Volp. 3. 2, p. 231, where the meaning seems to be nearsighted; perhaps we have the same sense here. 5. 4. 184 partiall. 'Used for impartial; so at least it seems, . . . unless the speaker, Hedon, was intended to make a blunder.' — Nares. Halliwell comes to the same conclusion. But it is perfectly intelligible as it stands: We must prefer the Monsieur, we must be partial (i. e., favorable) to him, and grant him the victory, because he has so far surpassed our own champion. 5. 4. 239 the oblique leere, or the lanus. Janus, the door- keeper of heaven, was usually represented as facing both forward and backward. 5. 4. 250 Signora. etc. In modern Itahan this might be (following suggestions made by Professor Kenneth McKenzie, of Yale Universit}^) : Signora, ho tanto obbligo per lo favore ricevuto da lei, che veramente desidero con tutto il cuore a [di] remunerarla in parte; e sicuratevi, signora mia cara, che io saro sempre pronto a servirla ed onorarla. Bascio (Bacio) le mani de vo' signoria. Twice {sicuratevi and vo') the 2d person is used for the courteous 3d person elsewhere employed. Professor McKenzie takes ye to be the EngHsh the, but, as there is no other EngHsh word in the passage, I follow rather the suggestion of Professor Cook, and read lo (possibly il) for le,ioT which I assume ye to be a misprint. Professor McKenzie translates the whole as follows: 'Madame, I am so greatly obhged [lit. have so great obUgation] for the favor received ACT v] Explanatory Notes 219 from you, that truly I desire with all my heart to reward you in part ; and be assured, my dear lady, that I shall always be ready to serve you and honor you. I kiss your ladyship's hands.' 5. 4. 258—9 As buckets are put downe into a well; Or as a schoole-boy.— — - From John Davies' epigram. In Heywodum 24: Heywood, that did in epigrams excel. Is now put down since my light Muse arose; As buckets are put down into a well, Or as a schoolboy putteth down his hose. This epigram was much appreciated to judge from contempo- rary mention of it; cf. Bastard {Chrestoleros, 1598, Bk. 2, Ep. 15): Heywood goes downe saith Davie, sikerly. And downe he goes, I can it not deny. But were I happy, did not fortune frowne. Were. I in heart, I would sing Davy downe. Also Bk. 3, Ep. 3. 5-8: The goate doth hunt the grasse: the wolfe the goat. The lyon hunts the wolfe, by proofe we see. Heywood sang others downe, but thy sweete note Davis, hath sang him downe, and I would thee. Bullen, in his edition of Marlowe (Boston, 1885, 3. 231), calls attention to other allusions to Davies' epigram, one by Sir John Harington in his Metamorphosis of Ajax, 1596, and another b}^ Freeman in Ruhhe and a Great Cast (Pt. 2, Ep. 100). 5. 4. 266 Madamoyselle, etc. Assuming that qui and di are misprints for que and de, the idiomatic incorrectness of such a phrase as le voudroy que pouuoy monstrer shows either that Jonson had never mastered French, or that he intended Mercury to misuse the language. 5. 4. 317 You would wish your selfe all nose, for the loue ont. Gif ford wrongly supposes this line to have been suggested to Jonson by Martial; it is from Catullus 13. 13—4: 220 Cynthias Revels [act v Quod tu cum olfacies, Deos rogabis, Totum ut te faciant, Fabulle, nasum. 5. 4. 320 titillation. The usual meaning of titillation is an itching, tingling sensation, but Jonson uses it here and else- where with the sense of odor; cf. Alchem. 4. 2, pp. 130—1: ' your Spanish beard Is the best cut, . . . Your Spanish titilla- tion in a glove The best perfume.' 5. 4. 327 muske, ciuet, amber, etc. A few pages of Phny's Natural History probably furnished Jonson with the chief part of this imposing catalogue of odors. Jonson mistakes the gender of aspalathus, making it neuter instead of mascu- line, an error due, no doubt, to his having seen the word in the dat. or ace. sing, (as in Nat. Hist. 6. 7), cases which do not determine the gender between masculine and neuter. 5. 4. 345 it is one special! argument to me, etc. I suspect Jonson's notion was that expressed by Phantastes in Lingua 4. 3 (Dodsley's 0. PL 9. 420) : ' For none can wear civet, but they are suspected of a proper bad scent ; whence the proverb springs. He smelleth best, that doth of nothing smell.' Per- haps Jonson has Martial 2. 12 in mind: Hoc mihi suspectum est, quod oles bene, Posthume, semper: Posthume, non bene olet, qui bene semper olet. 5. 4. 360 when a satten is cut vpon six taffataes. Slits were cut in an outer garment so that one of a different color beneath might show through ; the outer garment was generally of coarse cloth, the inner of silk or satin. Cf. Butler, Htidibras (Aldine ed., 1893) 1. 5: 'Twas English cut on Greek and Latin, Like fustian heretofore on satin. Taffeta in Jonson's day was a glossy silk cloth; satin cut on six layers of silk would have been an unheard of extravagance. 5. 4. 380 these impostors would not bee hang'd ? L e., do you mean to tell me they ought not to be hanged? See note on 4. 3. 204. 5. 4. 386 bolognian ribbands. Ribbons were just coming into vogue at this time; perhaps it is well that Jonson did not ACT v] Explanatory Notes 221 live to see the development of this fashion as described bj'' Evelyn, Tyrannus; or the Mode, 1661 (quoted by Planche, Cyclo. of Costume 1. 417) : 'It was a fine silken thing which I espied walking th' other day through Westminster Hall, that had as much ribbon about him as would have plundered six shops and set up twenty country pedlars. All his body was drest like a May-pole or a Tom o' Bedlam's cap. A frigat newly rigg'd kept not half such a clatter in a storme as this puppet's streamers did when the wind was in his shrouds; the motion was wonderful to behold, and the well-chosen colours were red, orange, and blew, of well gum'd satin, which argued a happy fancy.' 5. 4. 390 deuant. Gifford suggests foretop; Cunningham, beard; deuant (French devant, before) means merely front. This was doubtless spoken with a gesture which indicated the part of the face or dress which was to be perfumed. May it ascend, like solemne sacrifice, into the nostrils o£ the Queen of Loue. The arbitress at a Court of Love was sometimes called the Queen of Love. Certain elements of Jonson's portrayal of the courting-contest suggest that the old mediaeval Court of Love was in his mind. For example, the exclusion of Mistress Downfall's husband, the keeping of the door by Morphides, and the presence of the guardian Moria, vaguely suggest that institution. See Robert Bell's essay on the Courts of Love in his ed. of Chaucer (1878) 4. 260—79; W. A. Neilson, Origins and Sources of the Court of Love; and C. R. Baskervill, English Elements in Jonson's Early Comedy, pp. 219—34, where the subject is exhaustively discussed. 5. 4. 403 their first sent, true Spanish. See note on 5. 4. 320. 5. 4. 409 diapasme. See Glossary, and note on 5. 4. 416. 5. 4. 416 chaine of pomander. Aromatic substances were moulded into a ball which was carried in a bag or small box, or suspended from the neck or wrist by a chain; in Lingua 4. 3 (Dodsley's 0. PL 9. 419), a receipt for its manufacture is given: ' jst Boy. Your only way to make a good pomander is this: — Take an ounce of the purest garden mould, cleansed and steeped seven days in change of motherless rosewater; 222 Cynthias Revels [act v then take the best ladanum, benzoine, both storaxes, amber- gris, civet and musk: incorporate them together, and work them into what form you please. This, if your breath be not too vahant, will make you smell as sweet as my lady's dog.' 5. 4. 419 kept in an onyx. Onyx was much used by the ancients for making small vases and cups in which precious ointment was kept; Jonson may have a similar thought here. 5. 4. 428 Excellent. Hedon, Anaides, and Asotus are all ravished at the sight of Mercury beating the barber. 5. 4. 442 a breath like a panther. Cf. Volp. 3. 6, p. 250: Spirit of roses, and of violets, The milk of unicorns, and panthers' breath. The sweetness of the panther's breath was a very old idea. The first mention of it is by Aristotle {De Animalihus HistoricB, Bk. 9, chap. 6) : ' It has been observed that wild beasts are deHghted by the pleasant odor of the panther.' It was often referred to in the bestiaries of the Middle Ages; see Lauchert, Geschichte des Physiologus (Strassburg, 1889), p. 19; on p. 201 a mediaeval explanation of this sweetness of breath is fur- nished: 'Dem Panther folgen hier dieTiere deshalb nach, weil sein siisser Atem die Kraft hat, kranke Tiere zu heilen ; dieser siisse Geruch kommt aber daher, weil der Panther sich nur von den reinsten Wurzeln nahrt.' The idea was a favorite with the Elizabethans; cf. Nashe, Attack on Stuhhes, p. 40* (in FurnivaU's ed. of Stuhhes' Anatomy of Abuses): 'The Panther smelleth sweetelie, but onely to brute beastes, which shee draweth unto her to theyr destruction.' 5. 4. 448 Hee do's Ught all his torches at your eyes, etc. The same thought appears again in A Challenge at Tilt, Wks. 7. 214: '2 Cupid :^had I not hghted my torches in her eyes, planted my mother's roses in her cheeks; were not her eye- brows bent to the fashion of my bow, and her looks ready to be loosed thence, like my shafts?' 5. 4. 453 no head, nor foot. That is, no Hmit. 5. 4. 469 Your frenchified foole is your onely foole. As Amorphus makes this remark, he leans over Mercury's ACT v] Explanatory Notes 223 shoulder, and turns defeat into victory by giving him the bitter Bob, described in 5, 2. 65 ff. 5. 4. 472 Buzze. ' An interjection, or rather a sibilant sound to command silence.' — Schmidt, Shak.-Lex. ; cf. Hamlet 2. 2. 411-3: Pol. The actors are come hither, my lord. Ham. Buz, buz! Pol. Upon mine honour, — 5. 4. 478 Reuerse. See 5. 2. 66. 5. 4. 493 Your Monsieur is crest-falne. ... So are most of ' hem once a yeere. This is, probably, a punning reference to the falling out of the hair caused by the 'French disease." 5. 4. 495 the gentle dor. For 'your gentile dor, in colours, see 5. 2. 18 ff. 5. 4. 538 the Banquet is ours. Neilson {Origins and Sources of the Court of Love, p. 68) thus describes a banquet from Jean de Conde's La Nesse des Oisiaus: 'The courses consisted of glances, smiles, and the like, and a great chalice was handed round, the contents of which only increased thirst. . . . Then the servants brought in a course to appease the fever of love, — embraces and kisses, of which many had their fill.' 5. 4. 544 kisses as close as a cockle. Cunningham notes Jonson's fondness for the expression; it is found in Alchem. 3. 2, p. 99, and in Masque of Hymen 1. 68. As Gifford points out, it is from the Epithalamium of Gallienus (P. Burmann, Anthologia Veterum Latinorum Epigrammatum et Poematum, Amsterdam, 1759, 1. 684): Ite agite, o juvenes: et desudate medullis Omnibus inter vos, non murmura vestra columbae, Brachia non hederae, non vincant oscula conchae. Cf. Thomas : 'Das Epithalamium des Gallienus,' Sitz. K. Bayer. Akad., 1863, 2. 41-3. 5. 4. 545 till our very soules mixe. So in Masque of Hymen 7. 67: Now you no fear controls. But lips may mingle souls. 224 Cynthias Revels [act y 5. 4. 552 seuen, or nine beggerly sciences. The Seven liberal Arts formed the curriculum of the universities at this time, a continuation of the trivium and quadrivium of the Middle Ages. 5. 4. 554 fresh-men. Novices, though the word was already in use with its modern meaning. 5. 4. 559 sir Dagonet. King Arthur's fool ; ' King Arthur loved him passing well, and made him knight with his own hands. And at every tournament he began to make king Arthur to laugh.' — Mallory, Morte Darthur, Bk. 10, chap. 12. ' He was buffeted and knocked about a good deal, and is frequently alluded to by the dramatists of Shakespeare's time and later.' — CD. 5. 4. 572 Who offers? I. e., who begins? 5. 4. 575 liberall skonce. The 'seven or nine beggerly sciences ' (the liberal arts of the mediaeval universities) unfitted a man for courtship, in Anaides' opinion. See 5. 4. 552 ff., and note. 5. 4. 605—6 When men disgraces share, etc. Perhaps Jonson is giving us his own rendering of this proverb, which from classical times has been common to all nations; Wander {Deutsches Sprichworter-Lexikon) quotes three Latin versions of it: 'Facile fertur quod omnibus commune est.' 'Levius communia tangunt.' — Claudianus, Rapt. Pros. 3. 197. ' Quae mala cum multis patimur, leviora videntur.' Cf. also the Italian proverb: 'Chi ha un compagno nella disgrazia, e mezzo consolato.' 5. 4. 608 Her beautie is all composde of theft, etc. Small [Stage-Quarrel, p. 190) says: 'Every Petrarchan, from Petrarch himself down to the youth of to-day, has written similar things.' He quotes Lodge's thirty-third sonnet to Phillis, 1593, Lyly's well known lines in Alexander and Campaspe 3. 5. 128, 'in which Campaspe wins from Cupid all his beauties'; and Willobie his Avisa, Cant. 1. 5. 4. 624 Kisse (Uke the fighting snakes), etc. By kissing Hermes' rod, Crites means yielding to his influence, that is, exchanging fantastic humors for true wit and reason. 5. 4. 635—58 In this speech Jonson is clearly justifiyng his ACT v] Explanatory Notes 225 insertion of the courting-contest. He makes it plain that he is attacking the affectation and foppery of the court, not so much because of its inherent immorahty as because it diverts from the nobler accomplishments of which he deems man worthy. See Introduction, pp. xli—xhi, where the matter is discussed. 5. 4. 656 Gods high figures. Cf. Gen. 1. 26: 'And God said, Let us make man in our image, after our likeness.' 5. 5. 9 What though all concord's borne of contraries? etc. From Plato, Symposium, 187 (tr. Jowett, Dialogues 1. 556—7) : ' Any one who pays the least attention to the subject will also perceive that in music there is the same reconciliation of opposites. . . . Now there is an absurdity in saying that harmony is discord or is composed of elements which are still in a state of discord. . . . For harmony is a symphony, and symphony is an agreement ; but an agreement of disagreements while they disagree there cannot be; you cannot harmonize that which disagrees.' 5. 5. 15 For as Hermes wand, etc. See 1. 1. 34, and note on 1. 1. 22. 5. 5. 18 better hght then Natures. Love. Cf. Love's Triumph through Callipolis, Wks. 8. 90: So love emergent out of chaos brought The world to light! And gently moving on the waters, wrought All form to sight! Jonson was very fond of this idea ; he has used it elsewhere in Love Freed from Folly, Wks. 7. 186; A Challenge at Tilt, Wks. 7. 218; and Masque of Beauty, Wks. 7. 33, where he furnishes the following annotation : ' So is he feigned by Orpheus, to have appeared first of all the Gods; awakened by Clotho: and is therefore called Phanes, both by him, and Lactantius.' fpdvijg in the Orphic system was a mystic divinity, represent- ing the first principle of life. 5. 5. 22 Whose scepter guides the flowing Ocean. Cf. Lyly, Endimion 1. 1, p. 6: 'There is nothing thought more ad- mirable, or commendable in the sea, then the ebbing and P 226 Cynthias Revels [act v flowing; and shall the Moone, from whom the sea taketh this vertue, be accounted fickle for encreasing and decreasing ? ' See Introduction, p. Ix. 5. 5. 59 Phoebvs Apollo, etc. Crites, who must now compose masques suited to Cynthia's dignity, implores inspiration from Apollo, patron of poetry, and from Mercury, the god whose chief characteristics were inventiveness and cunning. 5. 5. 65 Cyllenian Mercvry, etc. Mercury, the son of Zeus by the naiad Maia, was born upon Cyllene, a mountain in Arcadia. See note on 5. 5. 59. 5. 6. 1 In my opinion, Jonson never surpassed the lyric with which this scene opens. Taine says: 'The noble verses exchanged by the goddess and her companions raise the mind to the lofty regions of serene morality, whither the poet desires to carry us' {Hist, of Eng. Lit. 1. 291). 5. 6. 23 Monthly, we spend our still-repaired shine, etc. Cf. Lyly, Endimion 1. 1, p. 7: 'But thou to abate the pride of our affections, dost detract from thy perfections; thinking it sufficient, if once in a moneth wee enjoy a glimpse of thy majestic.' Also ihid 3. 4, p. 47: 'Is shee not alwayes Cynthia, yet seldome in the same bignesse; alwayes wavering in her waxing or wayning, that our bodies might the better be governed, our seasons the daylier give their increase.' See Introduction, p. Ix. 5. 6. 33 if that. Probably an abbreviated form for if so were that; cf. Chaucer, Pard. Tale, 375: 'if so were that I myghte Have al this tresor to my self allone.' See Abbott, § 287. 5. 6. 47 Else, noble Arete, etc. Contrast this exalted picture of Elizabeth with the more candid one which Jonson gave Drummond {Conversations, Wks. 9. 395) : ' Queen Elizabeth never saw her self after she became old in a true glass; they painted her, and sometymes would vermilion her nose.' When the occasion demanded it, Jonson could laud the matron's lot quite as enthusiastically as he does virginity here. In Barriers, Wks. 7. 75, Truth says to Opinion: I challenge thee, and fit this time of love. With this position, which Truth comes to prove; ACT v] Explanatory Notes 227 That the most honour'd state of man and wife, Doth far exceed the insociate virgin-life. In the Masque of Queens Jonson speaks of Hypsicratea, the wife of Mithridates, 'as a notable precedent of marriage loyalty and love: virtues that might raise a mean person to equality with a queen ; but a queen to the state and honour of a deity.' 5. 6. 56 what we not discerne. See note on 2. 1. 59. 5. 6. 67 although the partie free. For the omission of is (or be), see Abbott, § 403. 5. 6. 79 Nothing which dutie. ' This sentiment of humanity is from Shak. {M. N. Dream, 5. 1. 82-3): For never anything can be amiss, When simpleness and duty tender it. Cynthia and Theseus are exactly in the same situation, both prepared to see a dramatic exhibition.' — W. 5. 6. 92 Phoebvs. See note on 5. 5. 59. 5.7 — Anteros. ' In Greek mythology, a son of Aphrodite and Ares and brother of Eros. He was the god of unhappy love, the avenger of unrequited affection : the opposite of Eros.' — CD. Cupid explains, in 5. 7. 60—6, why he assumes this disguise. In his masque, Love Restored, Wks. 7. 205, Jonson refers to Anteros as 'Anti-cupid, the love of virtue'; in A Challenge at Tilt, Wks. 7. 213, Anteros again appears as a character, an account of his origin being put into the mouth of Hymen (219-20). The two masques which follow represent Jonson' s first effort at this species of dramatic writing, in which he was destined greatly to surpass all his predecessors. Not till Twelfth Night, 1605, was the first of his splendid series of court-masques presented, though the success of two entertainments written in honor of James' arrival at Althorp on his journey south in 1603, and to celebrate his progress through London in 1604, doubtless paved the way for his later successes at court. Cyn. Rev. partakes in parts so fully of the nature of the masque that the actual introduction of these entertainments here at P2 228 Cynthias Revels [act v the conclusion seems not inharmonious. For an excellent discussion of Jonson's masques, see Cambridge Hist, of Eng. Lit. 6. 370—98, and for the most comprehensive study of the English masque, Brotanek's Die Englischen Maskenspiele. See also Introduction, pp. hx— Ix. 5. 7. 27 citron colour. Probably not symboUc; though in the garments of Euphantaste and Apheleia, who wear respect- ively a spangled and a pure white robe, the virtues for which they stand are suggested. In most of the court-masques Jon- son is very careful to mention the colors which the various characters wear; but in doing this his aim seems not to be symbolic representation, but the attainment of a gorgeous, harmonious picture. 5. 7. 28 Storge. 21roQyii, instinctive affection ; it is generally used to designate the attachment which animals have for their young, or parents for their children, but Jonson applies it to instinctive self-love. 5. 7. 32 deuice. An emblematic design. The mention of Apheleia's silver shield below (57) shows that it was displayed upon the usual shield-shaped escutcheon, hke the heraldic bearing of a family. The motto, which was inscribed on a scroll beneath the shield, regularly accompanied the design. Cf. Pericles 2. 2. 19-21: And the device he bears upon his shield Is a black Ethiope reaching at the sun; The word, 'Lux tua vita mihi.' 5. 7. 37 Aglaia. 'AyXata, splendor, beauty; the youngest of the Graces was called Aglaia. 5. 7. 40 keepe societies together with faire familiaritie. Jonson knew what this meant; cf. Beaumont's Letter to Ben Jonson, Wks. of Beaumont and Fletcher (ed. Dyce) 1. 1: What things have we seen Done at the Mermaid! heard words that have been So nimble, and so full of subtile flame. As if that every one from whence they came Had meant to put his whole wit in a jest And had resolved to live a fool the rest Of his dull life. ACT v] Explanatory Notes ^229 We are wont to overlook this genial aspect of Jonson's character. See also Conversations, Wks. 9. 402—9, where Drummond records the Jests with which Jonson must have spiced his weightier discourse. 5. 7. 48 Mercuriall hat. Mercury, as in 5. 5. 65, represents wit and invention. 5. 7. 56 Her deuice is no deuice. 'I. e., she bears a plain shield, without any emblem portrayed upon it.' — W. 5, 7. 61 arbors of Cytheree. See note on 2. 3. 160. 5. 8. 4 What shape? Evidently the figure of a goddess, adorned as described in the lines following, represented Cynthia in the masque, and was addressed by Cupid. The ' sea-girt rockes ' on which the goddess stands must have been represented in some way, either by painted scenery or by some device such as was later used in the masques. A similar effect seems to have been produced for the Masque of Blackness {Wks. 7. 6) : ' First for the scene, was drawn a landscape consisting of small woods, and here and there a void place filled with huntings; which falling, an artificial sea was seen to shoot forth, as if it flowed to the land, raised with waves which seemed to move, and in some places the billows to break, as imitating that orderly disorder which is common in nature.' 5. 8. 5—6 lawrell leaues, . . . oliue branches. In the King's Entertainment, Wks. 6. 403, Monarchia Britannica is crowned with a wreath of laurel and palm, denoting 'victory and happiness,' and Polemius, who appears in the same enter- tainment, is 'crowned with laurel, implying strength and conquest.' The olive of peace was also necessary in order to do Elizabeth full justice. 5. 8. 18 Loe, here the man, etc. See Introduction, p. xxv. Delia. I. e., Cynthia. She owed the name to the fact of her birth on the island of Delos. 5. 8. 23 Phcebvs. As leader of the muses; in the Masque of Augurs {Wks. 7. 420), Apollo is described as he That taught the muses all their harmony. 5. 8. 33 gloomy multitude. Jonson had a supreme contempt 230 Cynthias Revels [act v for the multitude. See Introduction, p. xxxi. In Jonson's estimation, it took more than clothes to exempt a man from the vulgar herd. In Explorata, Wks. 9. 155, he speaks of the false standards of literary judgment which the multitude possesses, and continues: 'Nor think this only to be true in the sordid multitude, but the neater sort of our gallants: for all are the multitude; only they differ in clothes, not in judgment or understanding.' 5. 8. 41 thy beauties. See note on 5. 6. 47. 5. 9. 2 These foure brethren. Jonson realizes that a court must be composed of gallants; here he presents us with types of the ideal courtier: Eucosmos (decorous), Eupathes {enjoying good things), Eutolmos (courageous), Eucolos (good-natured). By his introduction of Eupathes, he makes it clear that he does not object to dainty fare and costly garments, provided moderation and good sense accompany them. The idea that vices represent an excess of those qualities which existing in moderation are virtues, is, of course, Aristotelian ; cf. Nic.Ethics, Bk. 2, chap. 8 : ' Of those three dispositions or habits, of which that in the middle is only right, the extremes are contrary to, and at variance with, each other, and also with the virtue which lies between them. . . . Enough has been said to shew that virtue consists in mediocrity.' 5, 9. 3 Evtaxia. EvTagia, orderly behavior. 5. 10. 12 They are the Nymphs must doe it. Omission of the relative is very common; cf. Shak., Meas. for Meas. 2. 2. 33: I have a brother is condem'd to die. See Abbott, § 244. 5 10. 14 would be tam'd. Require to be tamed; see note on 4. 3. 204. 5. 10. 35 antiperistasis. See Introduction, pp. Ixi— bcii. 5. 10. 74 Ex vngue. Ex ungue leonem — The lion may be known by his claw. 5. 10. 86 Anteros. See note on 5. 7 — 5. 11. 9 ff. See Introduction, pp. xxix— xxxi. ACT v] Explanatory Notes 231 5. 11. 16 comparing more Then he presum'd. I. e., show- ing a greater lack of reverence and more audacity in com- paring herself to a goddess than Actason did in presuming to enter Cynthia's bower. 5. 11. 23 To make religion of offending heauen. I. e., scrupulously to avoid offending heaven (see Glossary) ; so in Jonson's Entertainment at Theobalds 6. 480: such Powers as you, Should make religion of offending fate, Whose dooms are just, and whose designs are true. 5. 11, 36 tyre of shine. Gifford supposes tyre here to mean 'the rays of light that usually circled the brows of Diana.' 5. 11. 43 Honour hath store of spleene, but wanteth gall. I. e., a just wrath {indignitas, ira), but without bitterness {invidia, odium). Jonson doubtless had the Latin words with their figurative meanings in mind. 5. 11. 76 our brother. Zeus was the father of both Cynthia and Mercury. 5. 11. 93 we meane not a censorian taske. Cynthia does not wish to spend time in arraigning and censuring the miscreants, but is anxious to have the business of cleansing the court quickly and decisively performed. 5. 11. 138 Delia. See note on 5. 8. 18. 5. 11. 144 Niobes stone. See 1. 2. 85, and note. 5. 11. 147 And of a stone be called. Of, used to denote transformation from a former state, in a sense at least anal- ogous to the present one, is not adequately treated in the New Eng. Did. Professor Cook, whom I asked for light on this usage, informed me that it is to be found in 'classical' English writers, since it comes from Greek and Latin, and fur- nished me the following illustrations : Sophocles, (Ed.Tyr. 454: TV(f)Xbq yag ly. SidoQxorog, 'A blind man, hew ho now hath sight' ; Xenophon, Cyr. 3.1.17 : e§ a(f^QOvoq GojifQcov vevevtjrai, 'from being indiscreet, is become discreet'; Horace, Od. 3. 30. 12: 'ex humih potens'; Ei>ist. 1. 7. 83; Sat. 2. 7. 54; Ars Poet. 143; Virgil, ^n. 10. 221; Ovid. Met. 2. 653; 10. 700; 15. 268. So Milton, Tenure {Wks., Bohn, 2. 47) : 'raised them 232 Cynthias Revels [act v to be high and rich of poor and base'; Par. Lost 4. 153; 9. 567, 712; 10. 720; 11. 56; 12. 167. weeping Crosse. ' Penances were very commonly performed at wayside and other crosses, and, as they were attended with manifestations of contrition, hence arose the name of Weeping Crosses. The memory of this pious custom is preserved in an old English proverb: "The way to Heaven is by Weeping Cross." Another homely distich is: He that goeth out with often loss, At last comes home by Weeping Cross.' — W. W. Seymour, The Cross in Tradition, History, and Art (New York, 1898), p. 328. The Elizabethan writers mention it often; cf. Heywood, // yoti know not me, Pt. 2, 1. 1, p. 267: Had you before the law foreseen the losse. You had not now come home by weeping-crosse. Alfred Rimmer, Ancient Stone Crosses of England (London, 1875), p. 127, expresses the opinion that there was some connection between the public recognition of lamentation shown throughout the Old Testament and the weeping crosses of England. 5. 11. 149 Trivia. A name given to Diana, on account of her supposed protection of travelers and the roads on which they journeyed. 5. 11. 151 not as Midas did, etc. In order to wash himself free from the golden touch, the baneful gift of Silenus (Ovid, Met. 11. 85). According to the various classical versions of the story, it was the Pactolus in which Midas bathed, and which for ever afterwards was noted for the gold in its sands. Jonson, perhaps for the sake of his line, makes it the Tagus, doubtless justifying himself by the fact that the latter, like the Pactolus, was very famous for its golden sands ; indeed, because of this quaHty which they possessed in common, the Tagus and Pactolus are often mentioned together; Juvenal, 14. 298—9: 'auru'm, quod Tagus et rutila volvit Pactolus harena'; Claudianus, In Rufinum 1. 101—3: 'Non Tartessiacis ilium satiarit arenis Tempestas pretiosa Tagi, non stagna ACT v] Explanatory Notes 233 rubentis aurea Pactoli'; Pliny, Nat. Hist. 33. 21: 'Aurum invenitur in nostro orbe . . . : fluminum ramentis, ut in Tago Hispaniae, Pado Italiae, Hebro Thracise, Pactolo Asiae, Gange Indias.' Many other writers mention the gold of the Tagus: Catullus, Virgil, Ovid, Seneca, Martial, etc. 5. 11. 153 Helicon. See note on 1. 4. 6. 5. 11. 174 Cunningham points out the use Middleton has made of the Palinode in his Trick to Catch the Old One (5. 2, pp. 350-2): Henceforth for ever I defy The glances of a sinful eye, Waving of fans (which some suppose Tricks of fancy), treading of toes, Wringing of fingers, biting the lip. The wanton gait, th' alluring trip, . . . ' Pothecaries ' drugs, surgeons' glisters; Stabbing of arms for a common mistress. Dekker alludes to the Palinode three times in Satiromastix ; on p. 194 Horace says to Asinus : ' Nay sirra the Palinode, which I meane to stitch to my Revels, shall be the best and ingenious piece that ever I swet for'; on p. 234 Horace is called a ' Palinodicall rimester' by Tucca; and on p. 241 Sir Vaughan, the Welshman, declares that Horace 'shal make another Thalimum, or crosse-stickes, or some Polinod-dyes, with a fewe Nappy-grams in them that shall lift up haire.' 5. 11. 177 loues, doues. Dove as a term of endearment was common: cf. M. N. Dream 5. 1. 331—2: Asleep, m}' love? What, dead, my dove ? Loves and doves are merely other names for the secret friends and sweet servants, just mentioned. 5. 11. 180 stabbing of armes. See note on 4. 1. 212. flap-dragons. Johnson defines Flap-dragon as ' a play in which they catch raisins out of burning brandy and, extin- guishing them by closing the mouth, eat them. Gallants thus drank the healths of their mistresses.' Often a burning plum or candle-end was quaffed off with a glass of liquor ; by such 234 Cynthias Revels [act v a health a gallant proved his courage as well as his devotion to his mistress. In News from the New World {Wks. 7. 343), the Second Herald declares that the moon contains no lovers 'that will hang themselves for love, or eat candles' ends, or drink to their mistresses' eyes, till their own bid them good night, as the sub-lunary lovers do.' Cf. also Marston's Dutch Courtezan (4. 1, pp. 69—70), where Tysefew thus protests to his lady love: 'Nay, look you; for my own part, if I have not as religiously vow'd my heart to you, — been drunk to your health, swallowed flap-dragons, . . . stabb'd arms, and done all the offices of protested gallantry for your sake.' In 2 Hen. IV 2. 4. 267, Poins' abihty to drink candles' ends for flap-dragons is mentioned as a quality which endears him to Prince Henry. healths. See note on 2. 2. 94. 5. 11. 181 whiffes. Only experts could employ the whiff e in taking their tobacco; cf. Every Man Out 3. 1, pp. 105—6, where Shift offers to take Sogliardo as his pupil, and ' bring him to the whiff e' in one fortnight. 5. 11. 183 wauing of faiines. etc. See note on 5. 3. 108. 5. 11. 189 perfum'd dogs, etc. See note o'n 2. 1. 42. In our note on 5. 4. 416, we quote from Lingua a receipt for manu- facturing a chain of pomander ' which will make you smell as sweet as my lady's dog.' 5. 11. 192 bracelets o! haire, etc. Bracelets, like all other ornaments, had a peculiar popularity at this time; Donne in The Relic mentions a ' bracelet of bright hair,' the gift of his mistress. For shoe-ties, see note on 4. 3. 415; garters, note on 3. 4. 68; rings with posies, note on 2. 2. QQ. See Roger Ascham's remarks on these and similar practices, in note on 3. 5. 1, and see Introduction, p. xlii. 5. 11. 198 From squiring to tilt-yards, play-houses, etc. That is, from escorting women to public places of amusement ; for a similar use of squire, cf . Chaucer, Prol. to Wife of Bath's Tale 1. 305-6: And for he squiereth me bothe up and doun. Yet hastow caught a fals suspecioun. ACT v] Explanatory Notes 235 This prayer of Amorphus acquires more significance when it is remembered that reputable women did not attend the pubhc playhouses in Elizabethan times. See, for example, Stubbes, Anatomy of Abuses, pp. 144—5. 5. 11. 204 From belying ladies fauours, noble-mens counte- nance. I. e., from boasting falsely of having received marks of favor from ladies and patronage from noblemen. These were the vices of Fastidious Brisk, who 'cares not what lady's favour he belies, or great man's familiarity' {Every Man Out, Character of the Persons, p. 6). EPILOGVE 17 Stifly to stand on this, etc. Jonson's good resolution immediately evaporates, for this is precisely what he does in the last line of the Epilogue. In the Prologue to Poetaster (p. 373) he makes what Gifford calls an awkward apology, and one that does little more than assume the very point in dispute : Here now, put case our author should, once more. Swear that his play were good; he doth implore. You would not argue him of arrogance. The truth is, Jonson could not overcome his scorn of the popular judgment, which breaks out again and again; notice, for example, his remarks on an epithalamium which he includes in his Masque of Hvmen, Wks. 7. 65: '[I] do heartily forgive their ignorance whom it chanceth not to please.' See also note on Induct. 181. Ecce rubet quidam, etc.. Mart. 6. 61. The principall Comoedians Nat. Field. Nathaniel Field was the only one of these six actors to become famous. In Bar. Fair 5. 3, p. 482, Jonson linked his name with that of Richard Burbage, the best actor of this period, and fifty years later Richard Flecknoe gave him similar praise. Jonson probably took a special pride in Field, in view of the fact that he had had a hand in his education [Conversations, Wks. 9. 379). He acted in Poetaster, Epiccene, 236 Cynthias Revels [act v and Bar. Fair, and his name also appears in the 1623 folio of Shakespeare. By 1612 he himself had taken to writing plays, bringing out in that year A Woman is a Weathercock. For an exhaustive account of his life, with full bibliographical sources, see DNB. loh. Vnderwood. Underwood seems to have been an actor of considerable talent. In addition to taking many parts in the dramas of Beaumont and Fletcher, Webster, and others, he appears in Jonson's lists of actors appended to Poetaster, Alchemist, and Catiline. See Collier's sketch of his life, Eng. Dram. Poetry 3. 440—7. Sal. Pavy. Salathiel Pavy also acted in Poetaster. At his death Jonson wrote an epitaph {Wks. 8. 221—2) from which we learn a fact or two of his life and character: Years he number'd scarce thirteen When fates turn'd cruel, Yet three fill'd zodiacs had he beer, The stage's jewel; And did act, what now we moan, Old men so duly, As, sooth, the Parcae thought him one, He played so truly. Tho. Day. He also appears as one of the chief actors in Poetaster. Master of Revells. At first merely the organizer of amuse- ments and merrymaking at court (Stow, Survey of London, p. 122), he later attained in the theatrical world practically the power of a dictator. 'At least so early as 1574, we find him empowered to examine every play that was to be played in any part of England. No play might be played or printed without his licence, and he had the power to alter, to forbid and even ... to destroy, any play he found objectionable' {Cambridge Hist, of Eng. Lit. 6. 276). Jonson may have coveted the office (Dekker, Satiromastix, p. 231), but in vain. GLOSSARY In preparing this glossary, the New English Dictionary and the Century Dictionary have been my chief resource, though Schmidt's Shakespeare-Lexicon has also furnished considerable aid ; for other lexicons used, reference should be made to the Bibliography. A dagger before a word or a definition indicates that the word or definition is obsolete ; parallel lines, that a word has never been naturalized ; an interrogation-mark, that the sense is doubtful. A, prep. fOn (cf. now-a-days). 2. 1. 46. A-nights. 4. 1. 148. Abettor, n. Supporter, adherent ■ (in good sense). 5. 4. 100. Abide, v. trans. To await. Arch. 3. 5. 72. Abrase, 7;j9^ a. [(L. Abrasus.] Rubbed smooth ; clean, blank, 5. 7. 53. Absolute, a. Free from all im- perfection, perfect. 4. 3. 32. -j-Accommodate, ppl. a. Suited, adapted, fitted. 5. 3. 59. Accomplish, v. To make com- plete, furnish with "what is wanting. 5. 3. 3. Act, n. 1. Activity. 3. 4. 24. 2. A demonstration of pro- ficiency. 4. 5. 97. Addicted, ppl. a. -{-Attached, devoted. 4. 3. 41. Adiection, n. Addition. 3. 5. 101. Adaance, v. To put forward or display. Rare. 4. 5. 103 ; 5. 3. 88 ; 5. 4. 14. Aduentare, v. To dare, run the risk. Induct. 137. Adult'rate, 7;/)?. a. Degraded, corrupted. Prologue 8. JDnchoaie, n. [For anchovy.] A small fish of the Herring fam- ily. 2. 3. 109. •f-Affect, n. Mood, feeling to- wards. 3. 3. 34. Affect, V. 1. To have affection or liking for ; to fancy. 1. 4. 37, 128. Arch, or? 06s. f 2. To seek or aspire (to do a thing). 2. 3. 138 ; 4. 5. 129. Affectation, n. Ai-tificial as- sumption. 5. 1. 6. Affected, ppl. a. f 1. Beloved. 4. 3. 306. 2. Applied, adapted. 4. 3. 330. Affectioned, ppl. a. fWarmly disposed, devoted (servant, ^veil-wisher, or the like). 5. 4. 221. Afore, conj. Arch, and dial. Be- fore. Induct. 36. Aforehand, adv. Arch. In antic- ipation, in advance. Arch, and dial. Induct. 39. Against, prep. 1. In anticipation of. 2. 1. 55. 2. In time for. 3. 1. 18. Ag'aiust, conj. In expectation of, and provision for, the time when. Arch, and dial. 3. 4. 56; 4. 5. 9. Ambiguons, a. See note on 3. 5. 105. Ambre, n. Ambergris, a secre- tion of the sperm-whale used in perfumery. 5. 4. 404. Ambnsh, n. Disguise. 5. 11. 77. {{Amomum, n. L. An aromatic plant. 5. 4. 329. And, conj. If. Induct. 133 ; 4. 5. 70: 5. 4. 232. 238 Cynthias Revels Anti-face, n. [Coined by Jon- son ?] Opposite sort of face. 2. 3. 30. Antike, a. [Form of antic.'] Gro- tesque, bizarre. 1. 5. 57. Antiperistasis, n. L. Arch. JForce of contrariness ; resist- ance or reaction roused against any action. 5. 10. 33. Antique, a. 5. 4. 263. See An- tike. Aped, ppl. a. PImitated (with, the idea of imitative). 5. 2. 14. Apprehend, v. [L. adprehe7idere.\ f To take. 5. 3. 50. Arras, n. Tapestry hangings used to drape the walls of apartments, so named from the town of Arras, where they were iirst manufactured. In- duct. 157 ; 4. 1. 144 ; 5. 4. 44. Arride, v. To please, gratify, delight. ?Obs. 3. 5. 83; 4. 3. 258. Articulate, a. Phr. articulate power : Power of speech, 1. 2. 11. As, conj. ^With finite verb : That. 1. 2. 39 ; 1. 3. 42. fAspalathum, n. L. [For aspal- athus. See note on 5. 4. 327.] A fragrant African shrub. Aspected, ppl. a. Phr. every way aspected : Exhibiting all sorts of aspects. 2. 3. 33. Atturney, n. [Porm of attorney.] -{-One appointed to act for an- other ; an agent, deputy. In- duct. 176; 5. 11. 186. Auditorie, w. An assembly of hearers, an audience. Induct. 40. Away, adv. = Get on with ; toler- ate. 4. 5. 24. •j-Babion, n. A baboon ; an ape ; applied in contempt to persons. 1. 3. 5; 5. 2. 70. Babioun. 5. 4. 167. Band, n. ' The neck-band or collar of a shirt, orig. used to make it fit closely round the neck, afterwards expanded or- namentally. Hence, in 16th and 17th centuries, a collar or ruff worn round the neck by man or woman.' NED. 1. 4. 109. Barke, n. Exterior. Arch. 5. 4. 38. Barre, ». A thick rod of iron or wood used in a trial of strength, the players contend- ing wliich of them could throw it farthest. 1. 1. 44. Baye, n. (Usually in pi.) Leaves or sprigs of the bay-tree, esp. as woven into a wreath to reward a conqueror or poet. Prologue 18. Beare-ward, n. The keeper of a bear, who leads it about for public exhibition of its tricks. 2. 5, Beggars' Pime, 1. Bee qualifie, v. Rare. To cele- brate the qualities of. 4. 3. 16. Belike, adv. Perhaps, possibly. 3. 5. 132. Bely, V. [Form of belie.] To tell lies about ; to misrepresent. 5. 11. 204. Beneflque, a. [Form of benefic] Beneficent, benign. 5. 9. 47. Benianiin, n. A shiub which yields an aromatic oil. 5. 4. 315. Beshrew, v. ' Evil befall,' ' mis- chief take ! ' Arch. 2. 4. 6 ; 4. 3. 206. Besso'gno, n. [For besognio.] (Term of contempt.) A needy beggar ; a base w^ortliless fel- low. 5. 4. 176. Bestow'd, ppl. a. ? Employed. 4. 2. 2. Better-gather'd, a. PMore se- rious, staid. Induct. 141. Beuer, n. A small repast be- tween meals. Chiefly dial. 4. 5. 1. Blackingman, n. ?A vendor of blacking. 2. 5, Beggars' Rime, 1. Glossary 239 Blanket!, v. To toss in a blanket (as a rough punishment). 3. 2. 8. Blazon, n. Her. A shield in heraldry, coat of arms. 2. 3. 165. Blinde Doctor, n. PQuack who professes to heal blindness. 2. 5, Beggars' Rime, 15. Blond, n. A ' buck,' a ' fast ' or foppish man, rake. 1. 5. 1. Bob, n. f A * rap ' with the tongue ; a bitter jest or jibe. 5. 2. 65; 5, 4. 477. Bodkin, n. fDagger, poniard. 5. 3. 92. Boe-peepe, n. ' The act of look- ing out and then drawing back as if frightened, or with the purpose to frighten some other' (Johnson). 5. 4. 262. f Booke-holder, n. The prompter at a theatre. Induct. 169. Bound, n. fA landmark (indicat- ing the limit of a territory). 5. 3. 123. {{Bouoli, 71. It. [For bouolo.] 'Any round snail.' Florio. 2. 3. 110. Brane, a. Fine, splendid, beau- tiful. Arch. Dedication 1. Brauo, n. fA bravado, a swag- gering fellow. 5. 4. 463. Briefe, n. ■\Music. A short note. 4. 3. 334. Bring, v. To cause to become, make to be. 2. 2. 72. f Broad-seale, v. Rare. To seal with the broad seal ; to sanc- tion, authorize. 5. 6. 74. fButt-schaft, n. A blunt or unbarbed arrow used for shoot- ing at a target. 5. 10. 17. Buzze, int. See note on 5. 4. 472. fCalamns odoratns, n. L. An eastern aromatic plant. 5. 4. 328. Call, V. See note on 1. 1. 30. Canne, n. [Form of can.] A vessel for holding liquids. Phr. burning of Cannes: 'Impress- ing the mark of legality with a hot iron on the wooden measures then in use.' Whal. 1. 4. 94. Canzonet, n. A short song. 4. 5. 140. Carkenet, n. [Form of carcanet.] Arch. An ornamental collar or necklace, usually of gold or set with jewels. Induct. 81. Carkanet. 4. 3. 413. Carman, n. A carter. 2. 5, Beggars' Rime, 2. Carroclie, «. Arch. [Form of caroche.] The 17th c. name of a coach or chariot of a stately or luxurious kind. Obs. exc. hist. 4. 2. 40. Carrie, v. fTo bear up under, endure. 3. 2. 21. Casheere, v. [Form of cashier.] To cast off, dismiss. 1. 5. 5 ; 4. 4. 40. Casting-bottle, n. A bottle for sprinkling perfumed waters ; a vinaigrette. 1. 1. 73. Cate, n. [Aphetized form of acate ( OF. achat, purchase.] j-pl. Victuals, food. Induct. 109. Cauiare, n. The roe of the sturgeon and other large fish, pressed and salted, and eaten as a reUsh. 2. 3. 110. Centaure, n. A fabulous crea- ture with the head, trunk, and arms of a man, joined to the body and legs of a horse. 1. 3. 4. Certaine, n. -f^hr. in good certaine : In good ti-uth. 2. 4. 83. Certes, adv. Arch. Of a truth, certainly, assuredly. 1. 3. 43. Challenge, v. To lay claim to, demand as a right. Arch. 5. 6. 31. Charge, n. 1. Expense. 1. 4. 145. 2. Ward. 2. 4. 53. Charme, v. To control, subdue. 1. 1. 52; 5. 5. 16. Chartell, n. [Form of cartel.] A written challenge. 5. 4. 14, 140. 240 Cynthias Revels Cholericke, a. Hot-tempered, passionate, fiery. 4. 1. 205. Chymist, n. [Form of chemist.} ? Alchemist. 2. 5, Beggars Rime, 17. Cioppini {plu. ; sing, -o), n. See note 2. 2. 59. Citticisme, n. Nonce use. [For citycism.] City manners. 5.4.40. Ciuet, n. A substance obtained from the African Civet-cat and used in perfumery. 5. 4. 327. Ciuet-wit, n. A perfumed dandy. Induct. 209. Cleare, v. fTo fill with light; to brighten, illumine. 5. 7. 44. Cleere. 5. 6. 10. Cleere, a. [Form of clear.] 1. Se- rene, cheerful. Obs. or arch. 2. 3. 173 ; 5. 7. 10. 2. Free (from fault or blem- ish). 1. 1. 102; 2. 4. 88. +3. Bright, brilHant. 1. 1. 97. f4. Beautiful, fair. 4. 2. 1. Coate, n. f Profession, class, sort. 3. 1. 37. Cockatrice, n. A prostitute. (Orig. ' a serpent, identified with the Basilisk, fabulously said to kill by its mere glance, and to be hatched from a cock's egg: NED.) 2. 2. 102; 4. 4. 15; 5. 3. 23. Coile, n. Fuss, ado. 4. 4. 2. Coyle. 5. 4. 339. Colledge, n. [Form of college.] [ ( OF. college ( L. collegium, persons united by the same office or calling.] A body of colleagues or companions. 2. 4. 93. Comical!, a. f Comic. Title- page of folio. Comming', ppl. a. [Form of com- ing.] Ready, eager, complaisant. 3. 4. 37. Complement, n. f Observance of ceremony in social relations. 5. 9. 10. Complementarie, n. Master of defence. See note on 5. 4. 20. Composure, n. f The process of composing ; composition. 1. 4. 15. Conceipt, n. 2. 1. 10. See Coticeit. Conceit, n. 1. Gaiety of imagi- nation, wit. Conceipt. 2. 1. 10. •j-2. Opinion, judgment. 5. 2. 34; 5. 5. 35. Conceit, v. To take a fancy to. Now dial. 5. 3. 128. Conceited, ppl. a. fingenious, clever. 1. 4. 157; 4. 5. 29. Confect, «. A sweetmeat made of fruit, seed, etc., preserved in sugar ; a comfit. 5. 4. 384. Confection, n. f Composition, mixture, compound. 5. 4. 323. Confederate, a. Plotted with another. 3. 4. 58. Conniue, v. -{-To neglect, leave unnoticed. 4. 2. 43 ; see note. Consumption, n. See note on 4. 3. 440. Conuersant, a. Having frequent or customary intercourse ; ac- quainted. 5. 11. 82. Connert, v. fTo turn. 1. 2. 19 ; 5. 4. 650. Conuerted, ppl. a. Changed in disposition or character. 4. 1. 30. Conuolue, v. fTo enfold, inclose. 3 4. 11. Copie, n. [L. copia, abundance.] ■f A copious quantity. 5. 2. 21. Corne-cutter, n. A chiropodist. 2 5, Beggars' Rime, 2. Cosscji, V. [Form of cozen.] To cheat, defraud by deceit. 5. 4. 602. Connsell, n. A matter of con- fidence or secrecy, a secret. 2. 4. 91. Countenance, n. Patronage, fa- vor. 5. 11. 204. Course, a. Obs. form of coarse. 1. 4. 178. Coursly. 3. 5. 52. Courting-stock, n. A recipient of courting. 3. 5. 141 ; 5. 4. 618. Glossary 241 Courtling, n. A frequenter of the court, a courtier (obs.). 5. 4. 35; 5. 4. 557. Couss'. Form of cousin. 1. 1. 22. Coyle, n. 5. 4. 339. See Coile. Cracke, n. fA lively lad; a 'rogue.' Induct. 156, 174; 2 1. 5. Crackt, ppl. a. fSnapped asun- der. 4. 5. 144. Creature, n. A servant. 1. 5. 1. CreWj n. Company, band. 5. 11. 107. Cringe, n. A servile or fawn- ing obeisance. 5. 11. 184. Crosse, a. Double-dealing. 3. 4. 46. Crosse, adv. [Aphetic form of across.] Across, athwart. 5. 11. 148. Crost, a. Thwarted. 4. 5. 65. CroTvde, n. A fiddle. Dial. 1. 1. 26. Curious, a. f Dainty ; beauti- fully wrought. 1. 4. 109. Curl'd, ppl. a. Adorned with curling hair. 1. 1. 48. Curteau, n. [Used apparently for F. curtauld.] A small, spirited horse. See note on 5 4 156. Curt'sie, n. An obeisance. 3. 4. 83. Cut, n. An incision made in a garment for ornament. 5. 4. 304, 359. Cut, V. Phr. cut upon : Make incisions in one garment so that another directly beneath may show through. 5. 4. 360. See note. fCuttlebung, n. A knife used for cutting purses ; a cutpurse. 2. 5, Beggars' Rime, 17. Dauiaske, v. To ornament. 3. 5. 121. Dasht, ppl. a. f Destroyed, frus- trated. (Persists in dashed hopes.) 4. 5. 77. Dead, a. Decayed, worn-out. Induct. 157. Deare, a. f 1. Noble, honorable, worthy. 1. 4. 71. ■}-2. Affectionate, loving. 5. 5. 57. Decimo-sexto. ?Obs. 'A term denoting the size of a book, or of the page of a book, in which each page is one-six- teenth of a full sheet. . . . Also applied fig. to a diminu- tive person or thing.' NED. 1. 1. 51. Decipher, v. f To describe, char- acterize 2. 1. 30. Decline, v., trans. fTo bring down, lower. 4. 2. 6. Decorum, n. An act or require- ment of polite behavior. 5, 4. 368. Court-decorums. 5. 4. 375. Deep, a. f Late. Rare. 4. 3. 40. Delicate, a. fl. Lovely, grace- ful, elegant. 4. 1. 200 2. Agreeable, charming. 4. 1. 100. Demand, v., trans. To question, ask. 5. 4. 91. Depart, v. Phr. depart with : ■fPart with ; give up, surren- der. 1. 4. 185 ; 2. 2. 100 ; 4. 3. 344. Depraue, v. To defame, dis- parage. 2. 3. 139. Designe, v. fTo appoint, assign. 5. 11. 134. Designement, n. Design; pro- ject. 1. 1. 116. fDeuant, n. See note on 5. 4. 390. Deuice, n. 1. Invention. Now arch, and rare 4. 5. 116. 2. A design. Arch. 2. 4. 70. -|-3 A purpose, intention. In- duct. 114. 4. A plan, scheme. Induct. 102 ; 1. 4. 89 ; 4. 5. 9. 5. A heraldic bearing. 5. 7. 32. ? 6. Something fancifully designed, as a picture, a pat- Q 242 Cynthias Revels tern, a piece of embroidery. 4 3. 416. 7. A disguise, impersonation. 5. 10. 88. Deuill, n. Fellow, rogue (joc- ular). 3. 2. 67. Diapasme, n. A scented powder for sprinkling over the person. 5. 4. 409. Die-note, n. A tone or strain which dies away. 4. 3. 258. Diffus'd, a. f Confused, dis- ordered. 3. 4. 5. Disgression, n. [L. disgressus, departure.] Departure. (Sense not noted in dictionaries ) 1. 3. 19. •f-Dildo, n. 'Penis succedanus.^ Bailey. 5. 11. 189. Discoloured, a. f 1. Of different colors ; variegated (from L. discolor, discolorus). 5. 5. 69; 5. 7. 45. •\-2. Without colors. Nonce- use. 5. 4. 523. fDiscompanied, ppl. a. Rare. Unaccompanied. 3. 5. 26. Discouer, v. To reveal, show. Now rare. 1. 1. 90. Discountenance, v. To discon- cert, abash. 5. 4. 61 ; 3. 1. 1. Discourtship, n. Obs. rare. Dis- courtesy. 5. 4. 63. Discretion, n. Wager. 5. 4. 205, 210. f Dis-gallant, v. Rare. To dis- courage, dispirit. 3. 1. 1. Dispatch, v. intr. To hasten, be quick. Obs. or arch. 2. 5. 27. f Dispunct, a. Rare, [dis- priv. +pimctilious.] Impolite, dis- courteous. 5. 3. 120. Distaste, n. Disgust, dislike. Phr. in some distaste of: Dis- gusted, offended by. 5. 4. 110. Distaste, v. Now rare. To be distasteful to ; to offend. In- duct. 231. fDistasted, ppl. a. Disgusted, offended. Induct. 182. Distemperatnre, n. Now rare and arch. Disturbance. 4.3.348. Diuision, n. Music. 'The exe- cution of a rapid melodic pas- sage, originally conceived as the dividing of each of a suc- cession of long notes into several short ones. . . . Esp. as a variation on, or accompani- ment to, a theme or " plain so]ig." ' CD. 1. 2. 68. Docible, a. ?Obs. Teachable, docile. 5. 2. 14. Doibt, a. [Misspelling for doit.] Small Dutch coin, the half ot an English farthing. 5. 4. 211. Doonie, n. Sentence ; condem- nation. 5. 11. 134. ■}-Dop, n. A curtsy, a dip. 5. 4. 255. fDor, n. Rare. 1. Fool. 5. 4. 618; 5. 1. 19. 2. Name applied to bees, hornets, etc. 3. 3. 8. 3. Scoff, mockery. Phr. giue him the dor : Make game of, mock, subject to ridicule. 5. 2. 27 ; 5. 4. 495. Doublet, n. [F. ( doublet, some- thing folded.] A close-fitting body-garment, worn by men from the 14th to the 18th cen- turies. Induct. 222 ; 1. 4. 171. Draught, n. f A Privy. 5. 4. 402. Draw, V. Phr. draiv on : Lead to. 4. 3. 295. Drift, n. f Scheme, plot, design. 3. 3. 40; 3. 4. 46. fDuello, n. Duelling, as a custom having its laws and rules 1. 3. 36. Dulcified, ppl. a. Old Chem. Sweetened. 5. 4. 413. Dyet-driulte, n. A drink pre- scribed and prepared for med- ical purposes. 2. 5. 8. E'ene, adv. Prefixed to verbs, with vague force expressible by 'just,' 'nothing else but.' Arch, and dial. 1. 2. 79. Either, 2}ron. fBoth. 5. 11. 202. Ember weekes. Weeks occurring Glossary 243 in each of the four seasons of the year, which include days set apart by the Roman Cath- olic church for prayer and fasting. 3. 2. 36. Embrace, v. To salute as a friend ; to welcome. 5. 4. 67, 81. Emet, n. [For of emmet.] Chiefly dial., also arch. Ant. Induct.70. Empaled, ppl. a. [Form of im- paled.} Bordered, edged. Obs. or arch. 5. 9. 29. Encomiastick, a. Laudatory, eulogistic. 1. 4. 89. Enforce,^. To compel, constrain. Const, to with inf., arch. In- duct. 221 ; 2. 3. 80. fEn-g'allant, v. To bring into the state of a gallant. 4. 3. 4, fEngle, n. [Form of ingle.] A boy-favorite (in bad sense). ' Possibly it was a cant term among the players for the boys belonging to the theatre.' Nares. Induct. 172. fEnstil'd, ppl. a. [Form of en- styled.] Styled, denominated. 5. 8. 31. Ensure, v. f To tell (a person) confidently that (something is true). 4. 3. 390. Entertaine, v. fl. To hire. In- duct. 73 ; 1. 5. 5, 14 ; 2. 3. 84. t2. To deal with. 3. 3. 5. 3. To receive. 5. 4. 56. 4. To induce. Entertayne. 5. 11. 201. Eimie, «. Hostility, ill will. Induct. 33; Enui. 3. 3. 43; Enuy. 5. 4. 65. Epitaph, n. See note on 4. 4. 16. Eqaall, a. f (L. cequus.) Fair, just. 5. 1. 38. Example, v. f To give an ex- ample. 5. 2. 67. Exempt, a. -j-Independent. 5. 4 660. Exliorbitant, a. 5. 4. 424. See Exorbitant. Exorbitant, a. Out of the or- dinary. 4. 3. 274. Expect, V. fTo wait. 5. 3. 189. Expence, n. [Form of expense.] Expenditure. 1. 1. 97. Exquisite, a. t(Of language) choice, out of the ordinary. 3. 5. 95. Fabulous, a. Absurd, ridiculous. Rare. 5. 3. 126. Fadinger, n. A dancer ; one who dances a ' fading.' See note on 2. 5, Beggars' Rime, 10. Fagioli, n. It. [For fagiolo.] Kidney-bean. 2. 3. 110. Faine, v. Obs. form of feign. 1. 4. 86. Faire, a. -fKind, gracious. In- duct. 180; 5. 11. 6. Fantastike, a. [Form of fan- tastic] Clever, unusual in design. 1. 4. 149. Farce, v. To season, ' spice ' (a composition, speech). Induct. 187. Farder, [Form of farther.] Far- ther. 5. 11. 70. Plir. farder fet : More suitable. 2. 2. 23. Fardest. 2. 3. 41. fFar-fet, ppl. a. Brought from far. 4. 1. 18. fFauour-some, a. Rare. Ac- ceptable. 4. 3. 5. Feature, n. f Form, shape, creat- ure. 3. 5. Ill, 134. See note on 4. 3. 289. Fet, a. [Form of fit.] Fit, suit- able. 2. 2. 23. Fill, V. fTo pour out. 1. 1. 27 ; 4. 4. 37. Filthie, a. f Contemptible. 5. 4. 247. fFitton, n. [Form of fitten.] An untruth, a lie, an invention. I. 4. 22. Flap-dragon, n. See note on 5. II. 180. Fleet, V. To fade or vanish. Obs. or arch. 1. 3. 46. Flight, n. A flight-arrow, a light and w^ell-feathered arrow for long-distance shooting. 5. 10. 16. Q 244 Cynthias Revels FolloWj V. fTo pursue (an affair) to its conclusion or accomplisli- ment. 2. 1. 1, f Foot-cloth, n. A large, ricUy ornamented cloth laid over the back of a horse and hanging down to the ground on each side. Induct. 196. Forehead, n. Used (like L. frons) to express (a) capacity of blush- ing, (b) command of counte- nance (NED.). 1. Phr. ivithout forehead : Without sense of shame, decency. 5. 11. 54. 2. Assurance. 4. 5. 31. Foule, n. Phr. offer foule : Play unfairly (a game). 5. 4. 462. Forespeak, v. [Form of forspeak.] To bewitch, charm. Obs. exc. Sc. 3. 1. 32. Fore-top, n. -j-Lock of hair ar- ranged on the forehead ; loose- ly, the top of the head. 3. 4. 13; 5. 4. 151. Forgiue, v. fTo give up ; resign. 5. 4. 568. Formall, a. f Shapely of feature or form. 1. 4. 34. Forme, n. Conventional ob- servance of etiquette. 5. 4. 636. Fortune, n. 1. Chance, oppor- tunity. 5. 4. 562. 2. Phr. of that fortune : Of that happy nature. 4. 3. 139. Frantike, a. [Porm of frantic] Mad, raving. 3. 3. 34. Pran- ticke. 5. 6. 54. Frapler, n. Arch. A blusterer, bully. 4. 3. 354. Friend, n. fLover or paramour'. 4. 1. 157. Front, n. Forehead, 5. 8. 8. Frot, V. -{-To rub (a garment) with perfumes. 5. 4. 318. ||Fucns, n L. Paint or cosmetic for beautifying the skin. 5. 4. 400. Fumig-ation, n. The action of perfumingwith aromaticherbs, perfumes, etc. 5. 4. 333. Furniture, n. Something fur- nished ; equipment. Rare. 5. 6. 82. Fustian, n. A kind of coarse cloth made of cotton or flax ; bombast, rant. Induct. 223. Fustian, a. f 1. ' Made up,' imag- inary. Induct. 46. 2. Bombastic, pompous. 5. 4. 652. Gallant, n. 1. A gentleman of fashion and pleasure ; a wit. Arch. Induct. 83; 1. 1. 75; 1. 4. 175. j-2. A woman of fashion and pleasure. 2. 4. 21. 3. Used in the vocative with playful or semi-ironical tone = 'fine fellow.' Induct. 18. Galliard, ti. A quick and lively dance in triple time. 2. 3. 116 ; 3. 1. 10. Garbe, n. fl. Style, fashion. 1. 3. 26 ; 5. 1. 35 ; 5. 4. 582. -}- 2. Habitual manner, beha- vior. 4. 1. 27. fGarbe-master, n. One who professes the art of polite be- havior. 5. 4. 550. Geare, n. ' Stuff.' 4. 1. 20. Generous, a. Appropriate or natural to one of noble birth or spirit. 1. 1. 100. Gentle, n. -j-One of gentle birth or rank (used in polite addi'ess). Induct. 12 ; Epilogue 1. Gentleman-Ysher, n. A gentle- man acting as attendant to a person of superior rank. 4. 1. 157. See note on 3. 2. 29. Gentile, a. [Form of getiteel.] ['A re-adoption, at the end of the 16th c, of F. gentil, which had been previously adopted in the 13th c, and had assumed the form of gentle.^ NED.] 1. Polished, well-bred. In- duct. 121. 2. Appropriate to persons of quaUty. 1.4. 120; 2. 2. 19. Genuine, a. -|-!Native, natural. 2. 3. 21. Glossary 245 Glaze, V. To lay on a trans- parent color. 3. 4. 54; 5, 11. 195. f Glicke, n. [Form of gleek.] A coquettish glance. Hare. 5. 11. 183. Glister, v. Arch, and dial. To glitter. 4. 5. 78. Glyster, n. [Form of clyster.] An injection, enema. 4. 3. 190. Gnomon, n. The pin or trian- gular plate on a sun dial, which by its shadow indicates the time of day. 5. 4. 612. God so, int. [PVar. of Gadso after oaths beginning with God's. Gadso is a var. of Catso (a. It. cazzo, membrum virile, also w^ord of exclamation) through false connection with other oaths beginning with Gad. ]^ED.\ An exclamation. Induct. 2 ; 3. 2. 9 ; 5. 4. 222. Graniercies, int. phr. Obs. exc. arch. = Thanks. 3. 2. 67. Grant, n. f Permission. 4. 1. 139. f Gratifle, v. To give thanks to. 4. 3. 10. Grane, a. Dull, stupid, flat. 5. 4. 247. Grogran, n. [Form of grogram.] A coarse fabric of silk, of mo- hair and wool, or of these mixed with silk. Phr. grogran- rascall (contemptuously) : A fellow wearing a garment of grogram. 3. 2. 6. Grope, V. -f-To make examination or trial of ; to sound, test. 4. 3. 384. Grounded, a. Fixed, unalterable. Induct. 223. Gnardant, a. Her. Walking to the right and having the full face toward the spectator. 3. 5. 76. Guerdon, v. Now poet, and rhe- torical. To reward, recom- pense. 5. 11. 167. Gnll, n. Dupe, simpleton, fool. 2. 2. 102; 4. 1. 125. Habite, n. f 1. Bearing, demean- or, deportment. 5. 9. 23. 2. A garment. Induct. 106. Hackney-nian, n. f A servant w^ho attends to a hackney. Induct. 188 Hand, n. f Phr. at any hand : In any case. 3. 2. 53. Hand-ful, n. fA lineal measure of four inches. 3. 4. 13. Hand-kercher, n. Spelling com- mon to literary usage in 16th and 17th c. Now dial, and vidgar. 4. 3. 26. ■j-Hang-by, n A contemptuous term for a dependent or hanger- on. 5. 3. 19. Harken, v. To search out or find by inquiry. 3. 1. 65. Harlot, n. f Applied to a male servant or attendant. 5. 4. 425. f Hart, int. [{ God's heart.] An imprecation. 1. 4. 171. Hauings, n. Possessions, wealth. 5. 4. 36. Hauionr, n. Behavior. 5. 4. 37. Head-tire, n. Now arch, or dial. A head-dress. 2. 4. 65. Heate drop, n. ?Drop of sweat. 4. 3. 182. Hethermost. Obs. form of hither- most. 5. 9. 21. Hieroglyphicke, n. Symbol, emblem. 1. 4. 185. Hit, V. To suit. 3. 5. 85. Hobbie-horse, n. fl. A small horse. Induct. 196. f 2. transf. A foolish fellow, buffoon. Hobby-horse. 5. 4. 577. Hooker, n. A thief who snatches away articles with a hook. 2. 5, Beggars' Rime, 18. f Horne-thum, n. [Form of hor7i- thumb.] A thumb protected by a thimble of horn such as was used by cutpurses, a pick- pocket. 2. 5, Beggars' Rime, 18. Hospital, n. f An asylum for the destitute, infirm, or aged. In- duct. 136. 246 Cynthias Revels fHoug'h, int. Obs. spelling of ho, int. 4. 3. 82. Hoyden, n. fA rude, ignorant fellow ; a clown, boor. 5. 4. 616. -f-Humanitian, n. One versed in the humanities ; a classical scholar. 3. 5. 36. Humorous, a. f 1. Fanciful, ca- pricious, whimsical. 2. 3. 170 ; 4. 5. 87. f 2 Moist, humid. 1. 2. 62. Humour, n. 1. Fancy, whim, caprice. 1. 4. 112; 1. 5. 39; 4. 1. 217. 2. An inclination, a fancy (to do something). 1. 5. 15. 3. Mood ; peculiarity of dis- position. 2. 3. 128. 4. Inclination, liking. 5. 4. 639. 5. Disposition, temper. 2. 1. 15; 5. 9. 36. Hurdle, n. 'A kind of frame or sledge on -which traitors used to be drawn through the streets to execution. (This remained part of the legal punishment for high treason till I860.)' NED. 3. 4. 49. I, Obs. form of ay. Induct. 7 ; 1. 1. 4 ; 1. 2. 3. lacke-daw, n. Applied con- temptuously to a loquacious person. 5. 4. 260. lag, n. A shred of cloth ; in pi. rags. 2. 5, Beggars' Eime, 25. lauTS, int. The name of an an- cient Italian deity, regarded as the doorkeeper of heaven, and as guardian of doors and gates. 1. 1. 21. lealous, a. 1. Suspicious, ap- prehensive (of evil). Now dial. 1. 1. 76. -}-2. Doubtful, mistrustful. Epilogue 3. Ignis fatuus. [Med. or mod. L., = foolish fire.] Another name for Will-o^-the-wisp. Ignis fat- ue {voc. case). 5. 10. 58. Ill-affected, a. Affected with illness or indisposition ; dis- eased. 1. 5. 41. fill-habited, a. Unhealthy, dis- ordered. Induct. 201. Imbrace, v. 4. 3. 215. See Em- brace. f Imbroccata, n. A pass or thrust in fencing. 5. 2. 65. Impart, v. intrans. To make a dispensation or gift. 5. 9. 47. Implement, n. An article of furniture. Induct. 153. f Impolisht, a. Rude, unrefined. 4. 3. 354. Impostume, n. f An abscess ; applied to a person swollen with pride or insolence. 5. 11. 67. f Imprese, n. A device. 5. 9. 18. flmproportionable, a. Not in harmony with the occasion. (Cf. unproportioned, Hamlet 1. 3. 60.) 1. 3. 18. Inculcate, v. fPhr. inculcated to you : Emphatically admon- ished you. 3. 1. 85. Incurious, a. f Simple. 5. 9. 30. Induce, v. fTo introduce. 3. 5. 80. Induction, n. Introduction. Now rare. 1. 4. 85. Indue, V. To supply, furnish. 5. 4. 335. finfant, v. To give birth to. See note on 4. 5. 38. Ingenious, a. -{-Intelligent, dis- cerning, clever. 4. 5. 29. Ingeniously, adv. 1. (Used for ingenious.) 4. 1. 33. 2. (Used by confusion for ingenuously.) Induct. 81. -j-Inginous, a. [Variant of en- ginotis.] Clever, crafty ; deceit- ful. 3. 3. 40. Inquisition, ». f Inspection. Phr. inquisition after : Inspection of. 2. 3. 116. Inseparate, a. Inseparable. 1. 2. 102. Insinuate, v. 1. To signify (but see note on 4. 4. 16). 4. 3. 392. Glossary 247 Instance, n. fCircumstance. 1. 1. 61. Instant, a. Immediate. 1. 2. 103. Integrate, a. Complete, perfect. 2. 4. 50. Intend, v. f To fix the attention upon ; to attend to. 5. 1. 19 ; 5. 2. 3 ; 5. 4. 498 ; 5. 5. 46. Intendment, n. fDesign, pro- ject. 2. 3. 3. Intention, n. f Observation. 1. 5.42. fintergatorie, n. [Syncopated form of interrogatory.] Phr. have upon interrogatories : To subject (an accused person) to a series of formal questions. 4. 4. 11. f Inthroniz'dj^j}^. a. Entbroned. 5. 7. 13. Intreat, v. [Form of entreat.] ?1. To take. 1. 1. 68. f 2. To persuade ; to induce. 4. 5. 107. flntrinsecate, a. Difficult ; in- tricate ; requiring skill. 5. 2. 16. Inti'ude, V. [L. intrudere.] trans. To thrust in. 5. 3. 39. fInneutious,a. Inventive. 2.2. 65. Inuitement, n. Now rare. In- vitation. 2. 1. 55. flouialist, n. A person born under the planet Jupiter; a person of jovial disposition. 5. 4. 270. loy, n. Phr. Tis ioy on you thatyouwill : ?'Tis your delight to. 1. 1. 69. loyn'd stoole, n. [Form of joint stool.] A stool made of parts joined or fitted together ; a stool made by a joiner, as distinguished from one of more clumsy workmanship. Obs. exc. hist. 1. 1. 45. Irp, w. [Origin unknown.] Some kind of a gesture : ?a toss or jerk of the head, the act of perking. Gifford suggests a fantastic grimace, or con- tortion of the body. 5. 11. 174. Irpe, a. ?Perk, smart. 3. 5. St. Itching, ppl. a. That has an irritating desire or uneasy craving. 1. 1. 65. Jerkin, n. A garment for the upper part of the body worn by men in the 16th and 17th centuries. 5. 4. 314. Kirtle, «. A woman's gown. 2. 2. 103. Knowledge, n. fl. '£hx. exchange knowledge with : Make the acquaintance of. 4. 3. 431. 2. Phr. take knowledge of: Take notice of, observe. 2. 2. 88 ; 2. 4. 40-1. IJLadannm, n. L. A gum resin much used in perfumery. 5. 4. 329. Lasli, n. The punishment of flogging. 2. 5, Beggars' Rime, 24. Laundresse, n. See note on Induct. 188. Law, int. Now vulgar. An ex- clamation expressing assever- ation. 1. 4. 67. f Leasing, n. Obs. or arch. exc. dial. A lie, falsehood. 1.4.23. Leaue, v. 1. To cease. Now only arch. Induct. 184; 5. 5. 56. f 2. Intr. To cease, desist. Induct. 98. Leg, n. An obeisance made by drawing back one leg and bending the other ; a bow, scrape. Now arch, or jocular. 3. 4. 29. Legge 5. 4. 152. Lengtli, n. Phr. at length: At the sword's length. 1. 1. 85. Leuelled, ppl. a. Balanced, stable in character by a due pro- portion of parts. 3. 5. 141. Lifting, vbl. n. Stealing (as from a shop). Slang. 1. 1. 38. Light, a. Cheerful, merry. Obs. exc. in light heart. 1. 2. 110. Lightly, adv. f Commonly, often. 2. 1. 50 ; 2. 2. 82. 248 Cynthias Revels Limb, b. [Form of limn.] Now lit. aud arch. To portray, de- pict. 5. 4. 55. Lime, v. To smear (twigs or the like) with, bird-lime, for the purpose of catching birds. 5. 4. 293. List, n. Strip of cloth. (Used as a term of contempt.) 5. 4. 308. Lockt, ppl. a. Tightly closed. 1. 5. 50. Look, V. fTo await the time when something shall happen. 1. 4. 181. |Lyra, n. L. A lyre. 4. 3. 232, 306. f Mammothrept, n. A nursling. 4. 3. 328. March-pane, n. A kind of con- fectionery composed of a paste of pounded almonds, sugar, etc., made up into small cakes or moulded into ornamental forms. NED. 4. 1. 134. f Mar-kin^ stone, n. An earthy stone used for marking cattle. 2. 5, Beggars' Rime, 3. Marie, v. Obs. exc. dial. Con- traction of marvel. 4. 3. 39. Marmoset, n. A small monkey; a grotesque figure. 3. 4. 22. Marmaset. 4. 1. 43. Measure, n. A grave or stately dance. Now arch. 3. 5. 131 ; 4.5. 70; 5. 5. 8; 5. 10.3. Melancholike, a. [Form of mel- ancholic.^ -{-Melancholy. 2. 3. 174 ; 3. 4. 63. Mercer, n. A dealer in silks, velvets, and other costly ma- terials. 2. 1. 50. fMercnried, ppl. a. Washed w^ith mercury- w^ater (as an aid to the complexion). 1. 1. 19. Metaphysically, adv. Super- naturally {Q. reading). 2. 4. 86 fMetheglin, n. Obs. exc. hist. and dial. A spiced or medi- cated variety of mead, origi- nally peculiar to Wales. 1. 4. 10. Millauer, n. [Form of ynilliner.] -|-' A vendor of "fancy" wares and articles of apparel, esp. of such as were originally of Milan manufacture.' NED. 5. 3. 102. Mimicke, a. [Form of minnc] Imitative. 1. 5. 61. Mimique, n. [Form of mimic.'] ' A mean or servile imitator ' (Johnson). 3. 4. 20 Minerva. -j-Used for ivisdoni, ability. 3. 5. 101. Minion, n 1. Darling, favorite. 5. 10. 95. 2. Hussy, jade (possibly with milder sense). 4. 4. 32. Minnnm, n. [Form of minim.] Mus. A note equivalent in time-value to one-half of a semibreve. 4. 3. 334. Minotaure, n. Gr. Myth. A fab- ulous monster, represented as having the body of a man and the head of a bull. 1. 3. 4. -{-Miscellany, a. Phr. miscellany madame : ' A woman who weut about selling laces, perfumery, etc. and took part in carrying on intrigues.' CD. 4. 1. 190. Miscelany madam. 4. 1. 177. Misprision, n. Mistake, error, misunderstanding. Arch. 4. 4. 32. IMoscardino, n. PL -ini. It. A sweetmeat flavored with musk. 5. 4. 384. Motion, n. fl. A puppet show. 1.3.8; 1. 6. 64. -{-2. Proposal, suggestion. 4. 1. 81 ; 4. 5. 86. Motley, n. Foolerj^, nonsense. Obs. exc. hist. 1. 4. 134. Mound, n. ' An orb or ball, . . . intended to represent the globe of the earth ; often sur- mounting a crown, or other- wise forming part of the in- signia of royalty.' NED. 5, 7. 17. Glossary 249 Moath, M. Grimace. 5. 4. 474. Mouthed, p^Ln. f Gaping, open- mouthed. 5. 4. 109. f Mullets, n. A kind of pincers or tweezers. 5. 4. 303. Mun^rill, n. [Form of mongrel.] f Applied to persons as a term of contempt or abuse. 5. 4. 193. Muscle-bag, ». ? Scrotum. 2. 5, Beggars' Rime, 26. Muse, V. fTo wonder, marvel. 5. 4. 433. Musique, n. f Musical instru- ment. 5. 4. 148. f Muske-cat, n. The animal from which musk is got ; as a term of reproach to a fop. 4. 3. 352. fMuske-worme, n. Applied to one who uses perfumes in excess. 5. 4. 339. Nard, n. An aromatic balsam or ointment used by the ancients. 5. 4. 328. Nature, n. Character, capacity. Rare. Induct. 53 ; 5. 4. 65. Neate, a. 1. Skilful, clever. 4.1. 115. f2. Elegant, trim. Bare. Induct. 212 ; 5. 9. 25. Neatly-wrought, a. Skilfully or elegantly embroidered. 1. 4. 109. Neatnesse, w. Elegance or nicety of appearance. 5. 4. 657. Neighbouring', ppl. a. Closely allied. Induct 106. (Neigh- bour- 5. 11. 58.) Neophyte, n. A novice, beginner. 3. 4. 54. Neophyte-player. 3. 1.3 fNepenthe, n. [L. nepenthes (Pliny).] A drink or drug supposed to bring forgetfulness of trouble or grief. 1. 4. 9. Nicke, V. f In the game of hazard : To win against (the other players) by casting a nick.' NED. Hence, to win against rivals. 2. 2. 28. Nomenclator , n. Rom. Antiq. A servant whose duty it was to inform his master of tlie names of persons. 5. 10. 5. Note, n. 1. Melody, tune. Now only poet. 4. 3. 255. 2. Token, symbol. 5. 7. 17. Nothing, adv. Not at all, in no way. 4. 1. 26. Nulli-fldian, n. An unbeliever. 5. 4. 322. Nullitie, n. Defect ; incapacity. 5. 4. 98. Obsequious, a. Obedient, duti- ful. Now rare. 5. 2. 20. Obseruance, n. 1. Homage ; re- spectful regard. Now rare. 5. 1. 4.; 4. 4. 26. 2. Observation. 1. 5. 45 ; 5. 4. 172. Obserue, v. fTo court. 5 2. 50. iOenanthe, n. L. [Eng. form now current oenanthin.] A poisonous substance obtained from Water Dropwort. 5. 4. 330. Of, prep. 1. By. Arch. Induct. 91 ; 2. 3. 112. 2. In regard to. 5. 11. 91. 3. See note on 5. 11. 147. Of, adv. Obs. form of off. 3. 4. 63. OflFer, n. fAttempt. 5. 4. 161. On, prep, f Of. 4. 4. 4 ; 5. 4. 317. llOpobalsamnm, n. L. The bal- sam or oleoresin called Balm of Gilead or Balm of Mecca. 5. 4. 329. Opponax, n. [Form of opopanax.] A gum resin used in perfumery. 5. 4 330. Opposite, 71. Opponent. Now rare or obs. 5. 2. 29. Optique, n. [Form of optic] The eye. ('Formerly the learned and elegant term ; afterwards pedantic, and now usually humorous '. NED.) 1. 3. 36. Ordinarie, n. A tavern where public meals were provided at a fixed price. 1. 4. 175 ; 3. 1. 34. 250 Cynthias Revels Outrecuidance y n. Excessive self-esteem ; arrogance. 5. 2. 59. Ontsides, n. f Outer garments ; clothes. 3. 2. 38. Paean, n. A hymn or chant ad- dressed to Apollo. 5. 5. 61. Pain'd, ppl. a. [Form of parted.] Made of strips of different colored cloth joined together. 4. 8. 197. Palinode, n. An ode or song in which the author retracts something said in a former poem ; hence ^en. a recantation. 5. 11. 143. Parachito, n. A parrot. 4. 2. 41 ; 5. 11. 190. Parcell, n. -j-A fragment (applied contemptuously). 2. 1. 28. Pargetting, n. Painting (of the face). 5. 11. 195. •j-Paritor, n. An apparitor or summoning officer of an ec- clesiastical court. 2. 5, Beggar's Rime, 16. Part, n. 1. pL Abilities, capac- ities, talents. Now arch. 1. 5. 11 ; 5. 4. 613. 2. Phr. some part of: In some degree. 2. 3. 183. (Cf. parcell, 2. 1. 28.) Parted, ppl. a. f Gifted, talented. 5. 2. 73. Particular, n. f An individual. 5. 4. 42. Particular, a. Nice in taste, fastidious. 5. 4. 36. Particularity, n. ^Particular quality. 2. 4. 36. Passe, V. Fencing. To make or execute a thrust. 5. 4. 476. Passage, n. A pass or encounter (at arms). 5. 2. 65. Passant, a. Her. Walking and looking to the right. 3. 5. 73. Paule, V. fTo render flat or insipid. 5. 8. 15. Pedant, n. fA schoolmaster, teacher, or tutor. 2. 1. 46. Peece, n. [Form of piece.] A person, an individual. Arch. and dial. 1. 3. 28 ; 5. 4. 587. Peeuislily, adv. f Perversely. 1. 3.45. Perpetuana, n. fA stuff of wool, or wool and silk. 3. 2. 30. Perspectiue, n. f A drawing or painting in perspective used as stage scenery. Induct. 154. Petasus, n. L. The broad- brimmed , low-crowned hat with which Hermes is rep- resented in art. 5. 7. 48. Phansie, n. [Form of fancy.] Capricious or arbitrary pref- erence. 5. 4. 636. Phantasticke, a. [Form of fan- tastic] Capricious. 5. 4. 293. Phautastikely, adv. [Form of fantastically.] Capriciously. 2. 3. 130. Phantastique, a. 5. 11. 178. See Phantasticke. Phoenicobalanus, n. L. The Egyptian date. 5. 4. 327. Pick-toothe, n. Bare. A tooth- pick. 1. 1. 73. Pied, ppl. a. Parti-colored, varie- gated. Prologue 12. Pyed. 3. 4. 6. Pinke, n. f A hole or eyelet punched in a garment for decorative pui'poses. 5. 4. 304. fPisinire, n. An ant ; applied contemptuously to a person. Induct 127. Place, n. 1. Phr. take place: Take the position suited to one's rank. 3. 4. 80. f 2. Phr. in place : On the spot, present. 4. 3. 18. Play-end, n. f An end of a speech from a play, a ' tag '. See note on 4. 1. 211. Play-particle, n. A brief quo- tation from a play. 3. 5. 120. Pleasing, a. f Amusing, ridic- ulous. 5. 4. 33. Plenilune, n. Chiefly poet. A full moon. 5. 8. 11. Glossary 251 Pocket, V. fPhr pocket up any- thing: Submit to any affront without showing resentment. 4. 3. 129. Poesie, n. f A motto or short inscription. 2. 2. 66 ; 4. 5. 115 ; 5. 11. 193. Poetaster, n. A petty or paltry poet ; a rimester. 2. 4. 15. Point, n. A thong attached to the hose, and used in sup- porting it. Now arch, or hist. 5. 2. 12. Politie, n. f PoUcy. 1. 1. 14. Politike, a. 1. 4. 196 ; 3. 4. 34. See Politique. Politique, n. f A shrewd sche- mer. 3. 1. 10. Politique, a. [Form of politic] 1. Sagacious, prudent. 1. 4. 91 ; 2. 3. 15 ; 4. 5. 30. 2. Scheming, crafty, cunning. Politike. 1. 4. 196 ; 3. 4. 34. Politiquely, adv. Cunningly. 5. 2.72. Pomander, n. 2. 1. 68. See note on 5. 4. 416. f Pommado, n. [Form of pomado. (It. pomo, pommel of a saddle.] An exercise of vaulting upon or over a horse by placing one hand on the pommel of the saddle. 2. 1. 66. Possesse, v. To give to under- stand that. Obs. or arch. 5. 2.29. Post-knight, n. [Gen. Knight of the Post, i. e. (?) of the whip- ping-post.] A notorious per- jurer. 2. 5, Beggars' Rime, 20. Pounded, ppl. a. Shut up in a pound. 2. 5. 20. Poxe, n. Used in imprecations, as : a poxe on't. 5, 3. 126. Practicke, a. [Form of practic] fl. Artful, crafty, cunning. 5. 4. 292. •j-2. Practical. Practique. 2. 3. 39. Practique, a. 2. 3. 39. See Prac- ticke. Prjelude, n. f Preliminary play before the real performance. 5. 4. 94. Preoccupie, v. To get into communication vnth at an ear- lier time. 5. 2. 54. Presence, n. f 1. An assembly, company. Induct. 110 ; 2. 3. 1 ; 2. 4. 4 (perhaps sense 2). -{-2. The state-room in a palace wbere the sovereign usually appears. 2. 2. 3 ; 2. 3. 171. Presently, adv. -f-Immediately. 5. 2. 22. Presentment, n. Exhibition. 5. 10. 88. Pressing toole, n. Pressing iron, flatiron 5. 4. 357. fPrest, a. Ready. 5. 4. 126. Pretend, v. fTo allege. 1. 1. 94. Prettily, adv. fFairly, moder- ately. 1. 4. 25. Pricke, v. To choose, pick out. 5. 2. 80. ||Primero, n. Sp 'A gambling card-game, very fashionable from about 1530 to about 1640, in which four cards were dealt to each player, each card hav- ing thrice its ordinary value.' NED. 2. 3. 172 ; 3. 1. 50. Priuate, a. f Phr. priuate tvith : privy to, informed of (some- thing not generally known). 1. 2. 31. Prize, n. 1. fA competition. •{•Phr. play the prizes : To fight publicly for a prize. 5. 3. 10. 2. Phr. appear in prize : To appear at the contest. 5. 2. 19. Prizer, n. Arch. One who en- gages in a ' prize ' or contest. 4. 5. 149 ; 5. 3. 49. Prodigy, n. fA monster. 3. 4, 21. Produce, v. Phr. too much pro- duced : ? Too deep, overdone. 5. 4. 152. Progresse, n. A state journey made by a royal or noble personage ; also, the official 252 Cynthias Revels tour made by judges. Now somewhat archaic. 4. 3. 186. Proiect, n. -j-Plan, scheme. 4. 5. 12. Proone, v. To try, test. Arch. 4. 1. 181 ; 5. 4. 246. Proue. 3. 5. 13. Proper, a. Fine-looking, 'fine'. Now arch, and dial. 4. 1. 48, 114. Property, n. A thing required for some specific use. 3. 1. 13, 56. Prorogue, v. fTo postpone. Epilogue 16. Prospectiue, n. Phr. in pro- spective : In view^. Now rare. 2. 4. 6. Prosperously, adv. Successfully. 2. 4. 85. Protraction, n. f Delay. 4. 3. 207. Prouoke, v. fTo call forth ; to summon. 5. 4. 149. Prouost, n. One who bears an intermediate degree in a fenc- ing-school. 5. 3. 65 ; 5. 4. 105. Prune, v. To dress up with minute nicety ; to prink, adorn. Induct. 216 ; 3. 4. 55. Publishing', vbl. n. Exhibiting or displaying for the first time. 2. 1. 56. fPudding tabacco, n. Tobacco made up in rolls like puddings. 2. 2. 95. PufPe, n. ?-|-l. A scornful or insolent gesture. 5. 4. 229. 2. An empty, vain fellow, a braggart. 3. 3. 26. fPunquetto, n. [{punk +It. dim. -etto.] A mistress. 2. 2. 102. Puntilio, n. fl. The highest point, acme. Hare. 2. 3. 46. 2. A nice point in proce- dure. 5. 2. 15. Poppet, n. A figure in a puppet- show ; a contemptuous term applied to aw^oman. 5. 11. 186. Puppit-player, n. One who man- ages or exhibits a puppet- play. 2. 5, Beggars' Rime, 5. Purchase, v. fTo obtain, pro- cure. 2. 3. 80. Put, V. Phr. put in act : Accomp- lish. 1. 1. 116. Pyed, a. 3. 4. 6. See Pied. Quaint, a. -j-Ingenious, clever, cunning. 2. 3. 66. Queint, a. 1. 4. 88. See Quaint. Quit, V. fTo be a return or equivalent for. 1. 4. 147. Ranke, n. Phr. in ranke with: ?In company with. 1. 4. 29. Rapt, pp. Carried or removed from one place, position, or situation to another. 2. 3. 179. Raritie, n. Peculiar or excep- tional quality. 5. 7. 19. Rat-catcher, n. One whose business it is to catch rats. 2. 5, Beggars' Bime, 8. Rayler, n. [Form of railer.] One who rails and scoffs. 2. 5, Beggars' Rime, 8. fRebatu, n. [Form of rebato.] ' A kind of stiff collar worn by both sexes from about 1590—1630.' NED. 4. 1. 22. Rebound, v. tran^. To cause to bound back. Rare. 1. 2. 107. Reciprocall, a. Similar to each other. 1. 4. 77. fReciprock, a. [Form of red- proque.] Mutual. 5. 4. 52. Redound, v. fTo be in excess or superfluous. 5. 2. 60 fRefell, V. To refute. 2.3. 13. f Refractarie, n. A refractory person. 5. 2. 6. Regard, n. f Prospect, view. Rare. 2. 3. 1. Reguardant, a. Her. Walking to the right and looking back- ward. 3. 5. 80. Religion, n. [L. religio, con- scientious scrupulousness.] Phr. to make religion of: fTo be scrupulously careful not to do something. 5. 11. 23. Glossary 253 Relinquish, v. intr. f To disappear, pass away. 4. 1. 129. Remember, v. Phr. if you bee remembred: If you remember. Now obs. exc. dial. 2. 2. 47. fRemercie, n. JBare. Thanks, o. 4. 198. Remnant, n. A fragment, a small portion, a scrap. 1. 4. 81. Remonstrate, v. [L. remonstrare, to show.] fTo demonstrate. 5. 2. 47. Repercussiue, a. Driven back ; reverberated. 1. 1. 123. Repute, V. fTo think liighly (of). 5. 2. 6. Respect, n. Phr. withmd respect: -|- Without discrimination or consideration. 5. 9. 47. Respectiue, a. fCourteous. 5. 4. 235. Respectiuely, adv. fCarefully, attentively. 6. 4. 225. Resty, a. Obs. exc. dial, f Slug- gish ; inactive. 5. 10. 73. Retainer, n. A dependent or follower of some person of rank or position. Now only hist, or arch. 2. 4. 78. Retrograde, a. Moving back- wards (in literal sense). 5. 3. 119; 5.4.11. Retyre, v. refl. To withdraw (oneself). (' Very common in 16 th and 17 th centuries ; now rare: NED.) 4. 3. 276. Retyring, vbl. n. Withdrawal, removal. 2. 1. 59. Reuel, n. A noisy festivity Avith dancing, games, masking, acting, or other forms of lively entertainment. Revel. Title- page. Reuell. 1.1.95. (Plu. form always used in this play, but in 1. 1. 95 we have a reuells, a usage not noted in NED.) Reueller, n One who takes part in a revel, merry-making, or festivity. 1. 1. 50 ; 3. 1. 9. Reuolution, n. Alteration or change (in costume). 5. 2. 23. Rid, pa. pple. Obs. form of ridde7i . 2. 1. 65. Rimer, n. A poet, a rimester. Epilogue 2. Ring , n. Phr. toithin ring : Within bounds. 5. 5. 26. {jRiualis, n. L. f A rival. Nonce- use. 5. 2. 49. Riueld, a. [Form of rivelled.] Now dial, or arch. Wrinkled. 5. 11. 196. Rodomantada, n. [Form of rodo- motitade.] A braggart. 5.4.241. Roome, n. fl. An office ; a post, situation. Phr. fill'd vp a roome : Occupied a position. 1. 4. 92. •j-2. A particular place as- signed to a person. 2. 2. 82. Rouer, n. -j-1. An arrow having a conical head without barbs. 5. 10. 16. 2. One who roves or wanders. 1. 1. 9. Ruffle, V. To swagger, bear oneself proudly or arrogantly. Novi^ arch. 3. 5. 125. fSackbut, n. A cask of sack. 2. 2. 81. Sack-posset, n. A di-ink com- posed of hot milk curdled with sack. 2. 4. 31. Sadnesse, n. f Seriousness. 4. 2. 37 ; 4. 4. 16. fSampsuchine, n. Oil of mar- joram. 5. 4. 321. Sand-bagge, n. See note on 2. 5. 26. fSanna, w. L. A mimicking grimace, esp. in mockery or derision. 5. 2. 76. Sasafras, w. [Form, oi sassafras.] A tree, the oil of which is much used in perfumery. 5. 4, 408. Satyre, n. Myth. One of a class of woodland gods or demons, in form partly human and partly bestial, supposed to be the companions of Bacchus. 1. 3. 5. 254 Cynthias Revels fSay, V. To try (on). 4. 1. 118. Say, V. To rehearse. 3. 5. 89. f Scape, V. To escape, app. in sense of pass. 1. 1. 37. IScholaris, n. L. A pupil. 5. 4.71. f Scholaritie, n. Rare. Scholar- ship. 5. 4. 572. Scorne, n. 1. fPhr, giiie the scorne : Mock, deride. 5. 4. 115. 2. Phr. thinke foule scorne : Despise utterly. See note on 5. 3. 77. Scorne, v. fTo mock, deride. 5. 10. 67. Scarce, v. To sift through a sieve. 5. 4. 414. Seeke, v. -j-Plir. seeke out : With- draw. 4. 2. 20. fSempster, n. A man or woman employed in sewing. 5. 3. 102. Serious, n. 2. 4. 3. See note on 4. 4. 16. Seruant, n. f A professed lover. (Notice the correlative term mistress., which is still in use.) 4. 1. 125 ; 5. 2. 20. Sesama, n. [Porm of sesame.] A widely cultivated plant. 5. 4. 328. Sew, V. Obs. form of Sue. 4. 3. 286. fS'foot, int. [(God's foot.] An imprecation. 5. 4. 99. f S'liart, int. [(God's heart.] An imprecation. 2. 2. 8 ; 4. 3. 128. Heart. 5. 4. 562. Hart. 3. 2. 1. Shew, V. [Porm of show.] intr. To appear. 5. 3. 124. Shifter, n. ?One who changes his suit often. 2. 3. 100. Shifting, ppl. a. Sly, shifty. 3. 1. 62. Shine, w. Brightness, irradiation. 5. 6. 23 ; 5. 7. 42 ; 5. 11. 36. Sillababbe, n. ' A dish made by mixing wine, ale, or cider, with cream or milk, so as to form a soft curd : this is sweet- ened, and flavored with lemon- juice, rose-water, etc' CD. 4. 1. 185. Sirrah, n. A word of address, generally equivalent to ' fellow ' or ' sir '. Obs. or arch. 2. 2. 65. Sirha. 2. 1. 22. Skinker, n. A tapster. Obs. or provin. 2. 5, Beggars' Rime, 12. Skoncc, n. [Form of sconce.] A jocular term for the head; hence, 'head', sense, wit. JSED. 5. 4. 575. See note. Slick, V. To make smooth. 5. 11. 196. fSlid, int. [(God's lid (eye).] An imprecation. Induct. 15, 36. f S'light, int. By this light, or God's light. An imprecation. 1. 1. 71 ; 1. 4. 59, 162. Slightly, adv. With scant cer- emony or respect, slightingly. 3. 2. 61. S'lood, int. [(God's blood.] An imprecation. 4. 4. 23. S'lud. 3. 2. 60. Smelt, n. f A gull ; a simpleton. 2. 3. 84. So, conj. Provided that. 1. 5. 48 ; 5. 4. 15. Societie, n. A company. Induct. 180. Soft, int. Hold, stop, not so fast. Induct. 117 ; 2. 2. 15. Solemnitie, n. 1. A celebration, festivity. 5. 9. 6. 2. Mock gravity. Solemnity. 6. 3. 114. Solcecisnie, n. [Form of solecism.] Inconsistency. 5. 4. 636. Soothed, ppl. a. Wheedled, ca- joled, flattered. 6. 6. 20. f Sophisticate, a. Not genuine, spurious. 1. 4. 49. Sort, n. Fashion, degree. 5. 4. 589. Sounding, n. Phr. second soimding : Second sounding of music, i. e., flourish of trumpets. Pre- ceding Induct, and Prologue. Sowre, a. Obs. form of sour. 1. 4. 46. Speake, v. To indicate, decide. Induct. 29. Glossary 255 Spirituous, a. fLively, gay. 3. 2. 45. f Spittle proctor, n. One having a license to collect alms for tlie occupants of a hospital. 2. 5, Beggars' Rime, 16. f Splendidious, a. Rare. Splen- did ; magnificent. 5. 10. 43. Spread, v. intr. To become scattered or disti'ibuted. 2. 3. 172. Sprig, n. ?An ornament in the form of a spray. 5. 3. 87. Squib, n. fA paltry, trifling fellow. 5. 4. 131. Stacte, n. One of the sweet spices which composed the holy incense of the ancient Jews. 5.4.329. Stale, V. To deprive of freshness or interest. Induct. 39. Stalke, n. A proud, stately step or walk. 5. 4. 583. Stand, V. trans. To oppose, confront. 3. 5. 103. Phr. stand to: Abide by. Induct. 16. Stand out to: Refuse to associate with. 1. 4. 38. State, n. 1. A dais ; a chair of state. 5. 4. 64. 2. Phi', keepe state : (a) Pre- serve a proper dignity and reserve, 2. 3. 188. (b) Main- tain the pomp of a noble or ruler. 4. 1. 193 ; 5. 6. 4. Statist, n. A statesman, a pol- itician. Obs. or arch. 2. 3. 33. Stay, n. Restraint ; delay. 5. 8.15. f Stickler, n. A second (in a duel). 5. 4. 17. Still, adv. Constantly ; habit- ually, ever. Induct. 44 {mar- ginal note). 1. 5. 30 ; 4. 5. 21 ; 5. 4. 576 ; still-repaiied. 5. 6. 23. Stint, V. fTo stay, put a stop to. 1. 2. 92. Stitch, n. A sharp pain. 3. 4. 17. Storax, n. A resin with the fragrance of vanilla, obtained from a small tree of Asia Mi- nor and Syria. 5. 4. 329. Strange, a. 1. Unknown, new. 5. 4. 84. 2. Foreign. Arch. 2. 3. 109. Sublimate, n. A preparation used in painting. 5. 4. 412. Sublimated, ppl. a. Elevated, refined. 1. 3. 30. Suburbe, a. f Suburban ; suited to the suburbs, or to the less well regulated parts of a city ; mean, low. 2. 4. 78. Sufflciencie, n. Ability, capacity. 1.4. 40; 2. 3.113. Suffumigation, n. Same as fu- migation, q. V. 5. 4. 334. Sugar-candied, n. Crystallized sugar. Induct. 233. Supposition, n. Phr. for sup- position : For instance. 5. 2. 18. f Suspect, ». Suspicion. 3. 2. 54. Sute, V. Obs. form of suit. 1. 5. 58. Swim, n. A smooth swaying, gliding motion. 2. 4. 55. Swinge, v. To chastise, punish. 5. 4. 565. Taue, obs. pa. ppl. of take. 2. 3. 73; 5. 11. 109. Ta'ne. 5.11.45. Taste, V. Phr. taste my ladies delights to her. See note on 4. 1. 189. Taxe, V. To censure, accuse. 5. 4. 623. Tedious, a. Slow. 5. 10. 20. Tempt, V. To try ; to put to trial. Arch. Induct. 22. Tender, v. To offer, present. See note on 1. 3. 32. Terme, n. fl. Figure, object. 5. 3. 123. 2. A term of court. 4. 1. 186. fTester, n. The name given to the shillings coined by Henry Vni. 2. 5, Beggars' Rime, 22. f Then, co«j. Than. (See Abbott, § 70.) Induct. 210. f Theorique, a. Making deduc- tions from theory, especially 256 Cynihias Revels from imperfect theory; theo- lizing. 2. 3. 39. Therein, adv. In that case. 1. 5. 46. Thomalin, n. See note on 2. 5, Beggars' Rime, 11. Thought, n. pi. Mood, temper. 1. 1. 90. Tliriftie, a. See note on 3. 4. 11. Tickle, V. Plir. tickle it : ?Enjoy or gratify oneself. 4. 5. 66. Timber, n. Stuff, material. 1. 5.4. Tincture, n. Color, tint, hue. 5. 3. 85. Tip-staffe, ?i. A staff tipped or capped with metal. 1. 1. 53. Tire, n. Head-dress. 3. 4. 80 ; 5. 10. 48. Tyre. 5. 11. 36. jTire-man, n. A dresser in a theatre. Induct. 170. -j-Tiring-house, n. The room where players dress for the stage. Induct. 168. Tissue, n. A fine-woven fahric of silk, gold, or silver. 2. 2. 90. Tit, n. [Early mod. E. also titt ; appar. orig. 'something small'.] A child : a deprecatory term. Induct. 126. Titillation, n. See note on 5. 4. 320. To, prep. At. 5. 5. 45. To, adv. Obs. form of too. 2. 3. 130, Too, prep. Obs. form of to. 2. 1. 54 ; 4. 4. 20. Toward, adv. fNear, at hand. 5. 10. 7. Trauaile, n. f Labor, effort. Epilogue 4. Trickt, ppl. a. Her. Drawn, as a bearing, or achievement of arms. 1. 4. 100. Trip, n. A light, short step (in dancing). 2. 4. 59. Trite, a. -{-Rubbed ; frayed ; worn. 1. 3. 27. Trophae, v. Phr. trophceed into stone : Turned into a stone memorial. 5. 11. 17. Troth, n. Obs. form of fmth. 1. 4. 119. Trow, V. To suppose, think. 4. 5. 28. fTruchman, n. [(F. trucheman, ( Ar. tarjeman] An interpreter. 5. 4. 12. Trusse, v. To tie, bind, or fasten. 5. 4. 260. Phr. truss the points : Tie the laces which supported the hose. 5. 2, 12. fTufP-taffata, n. [Form of tuf- taffeta.] A taffeta woven with a pile like that of velvet, arranged in tufts or spots. 4. 3. 357. Turmericke, n. A plant of the ginger family. -5. 4. 328. Turue, n. Requirement, con- venience. 4. 2. 42. Tyranne, n. Obs. form of tyrant. 5. 4. 510. Yaile, n. Obs. form of veil. 5. 4. 628; 5. 11. 71. Vailed, a. 5. 6. 55. Vale, v. ' To bow. 4. 3. 13. Vanish, v. Phr. let that vanish: Let that pass. Induct. 47. Vbiquitarie, n. One who is or exists everyw^here. 2. 4. 101. Vellet, n. Obs. form of velvet. Induct. 211. Venter, v. Obs. form of venture. 2. 1. 67 ; 5. 11. 62. n. Induct. 22 ; 1. 3. 35. Verge, n. ' In Eng. law, the compass of the jurisdiction of the . . . palace-court. It was an area of about twelve miles in circumference , embracing the royal palace, in which special provisions were made for peace and order.' CD. 4. 1. 152. Vice, n. See note on 2. 3. 43. Vindicatiue, a. f Vindictive, re- vengeful. 5. 11. 123. Visitant, n. Visitor. 2. 1. 43. Vuibra, «. Shade, ghost. Induct. 202. Vmbre, n. A natural pigment Glossary 257 somewhat resembling anocher ; dye. 5. 4. 404. Vnequall, a. Inferior. 5. 1. 9. Vnhappily, adv. Inauspiciously. 5. 6. 62. Vonchsafe, v. intr. Condescend. 3. 5 59. Vse, V. 1. To do customarily. Induct. 152. 2. To be accustomed. Induct. 157 ; 2. 3. 101 ; 5. 4. 448. -}-3. To be accustomed to go. 2. 1. 36 Vsher, w. An instructor in a dancing school. 4. 5. 69. fVt-re-mi-fa-sol-la. Syllables used to represent the tones of the scale, ut having been re- placed about 1670 by c?o, though still sometimes used in France. 2. 3. 51. Wag, n. ' A fellow : used with a shade of meaning sometimes slurring, sometimes affection- ate, but without any attri- bution of humor or pleasantry. Colloq. and arch.^ CD. Induct. 164, 200. Wagge. Induct. 153 ; 1. 1. 88. Wal, n. [Form of tvall.] Phr. taking wals. See note on 3. 4. 31. Warrant, v. Phr. tvarrant out : f Protect, safeguard. 5. 1. 23. fWatchet, a. Pale-blue. 6.9.46. Water-grnell, n. Thin or weak gruel. 2. 2. 52. Waue, n. PGesture, contortion (of the face). 5. 4. 109. Weare, w. Fashion, vogue. 1. 4. 120. Wel-dieted, ppl. a. Well-fed. Rare. 1. 4. 1. Whatsoeuer, a. Of whatever nature. 5. 6. 61. Wheele, n. The wheel on which victims were bound and tor- tured. 3. 4. 49. Whelp, tJ. Tobringforth. 2.4.27. Whiffe, n. A drawing or drink- ing in of smoke. 5. 11. 181. fWhite, V. To whiten. 3. 5. 10. fWhore-sonne, a. A bastard ; a term of contempt. 3. 2. 2. Wife, n. Mistress, hostess. (Cf. goodwife.) 2. 3. 97. Will, V. To wish, desire. Arch. 5. 7. 16; 5. 11. 115. Winne, v. To prevail upon. 1. 1. 87 ; 1. 4. 170. Wish,v. f To recommend. 4.3.213. Witliall, adv. At the same time. 1. 4. 69 ; 2. 2. 36. Withall, prep. An emphatic form of with, used at the end of a sentence or clause. In- duct. 82 ; 1.2.22; 5.2. 2. Without, prep. Out of the reach, or powers of ; beyond. 1. 4. 55. Without, conj. Unless. 2. 5. 23 ; 4. 5. 146. Word, n. Motto. 5. 7. 34. Wreath'd, ppl. a. fContorted, distorted. 3. 4. 63. Wring, V. To force. 2. 4. 17. Wry, a. Devious in purpose ; misdirected. 2. 3. 157. -j-Y'cleped, pa. pple. of clepe, to call. 5. 4. 170. Yeoman, 71. -j-Attendant in a royal household. 2. 5. 6. Yet, conj. Nevertheless. Induct. 101. See note on Induct. 98. Yfaitli, int. Obs. form of i' faith. 1. 1. 69 ; 2. 4. 82. Yong, a. [Form of young.] Fresh, new. 2. 4. 89. Your, pass. pron. Used to denote a class or vv^ell-known species. Arch. 1. 3. 4 ; 1. 4. 8. Zani, n. ' A comic performer originating on the Italian stage, whose function it is to make awkward attempts at mimick- ing the tricks of the pro- fessional clown, or the acts of other performers.' CD. 2. 3. 106. fZona, n. L. Phr. zona torrida: The torrid zone. 1. 4. 192. 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Ben Jonson's The Fountaine of Self-Loue or Cynthias Revels in Neudruck herausgegeben nach der Quarto 1601. Louvain, 1908. (Materialien zur Kunde des Alteren Englischen Dramas, Band 22.) Bartlett, J. A Concordance to Shakespeare. London, 1894. Baskervill, C. R. English Elements in Jonson's Early Com- edy. (Bulletin of the University of Texas, April 8, 1911.) Bastard, Thomas. Chrestoleros. Seven Books of Epigrams. 1888. (Spenser Soc. Pub.) Bates, K. L., and Godfrey, L. B. English Drama. A Work- ing Basis. Wellesley College, 1896. Bibliography 259 Beaumont and Fletcher. Works. Ed. A. Dyce. 11 vols. London, 1843-6. BouLTON, W. B. The Amusements of Old London. 2 vols. London, 1901. Brotanek, R. Die Englischen Maskenspiele. Wien und Leipzig, 1902. (Wiener Beitrage zur Englischen Philo- logie. Band 15.) Brooke, C. F. T. The Tudor Drama. Boston, New York, and Chicago, 1911. Cambridge History of English Literature. (The Drama to 1642.) Vols. 5 and 6. New York and Cambridge, 1910. [Full bibliographies.] Cambridge Modern History, 11 vols. Cambridge, 1902. Castelain, M. Ben Jonson. Paris, 1907. Castle, E. Schools and Masters of Fence. London, 1885. CD. Century Dictionary. Chambers, E. K. The Mediaeval Stage. 2 vols. Oxford, 1903. Collier, J. History of English Dramatic Poetry to the time of Shakespeare: and Annals of the Stage to the Resto- ration. 3 vols. London, 1879. Cory AT, Thomas. Crudities, 1611. 2 vols. Repr,, London, 1905. CoTGRAVE, R. A Dictionarie of the French and English Tongues. London, 1632. Crawford, C. A Concordance to the Works of Thomas Kyd. Louvain, 1906—10. (Materialien zur Kunde des Alteren Englischen Dramas, Band 15, 3 Telle.) Dekker, Thomas. Dramatic Works. 4 vols. London, 1873. Non-dramatic Works. 5 vols. Ed. Grosart. Lon- don, 1885. D N B. Dictionary of National Biography. 63 vols. London, 1885-1901. DoDSLEY, Robert. A Select Collection of Old English Plays, 1744. Ed. W. C. Hazlitt. 15 vols. London, 1874-6. Downes, John. 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Some Account of the English Stage. 10 vols. Bath, 1832. Glapthorne, Henry. Plays and Poems. 2 vols. London, 1874. Gosson, Stephen. Pleasant Quippes for Upstart Newfangled Gentle-women. 1595. Repr., London, 1841. Greene, Robert. Works. Ed. A. B. Grosart. 15 vols. London, 1881-6. (Huth Library.) Greg, W. W. Edition of Henslowe's Diary. 2 vols. Lon- don, 1904-8. A List of Masques, Pageants, &c. London, 1902. (Printed for the Bibliographical Soc.) Grose, F. Lexicon Balatronicum. 2d ed. London, 1811. Hall, Joseph. Satires. Chiswick, 1824. Halliwell, J. O. A Dictionary of Archaic and Provincial Words. 2 vols. London, 1847. A Dictionary of Old English Plays. London, 1860. Harrison, William. Elizabethan England. London. (Camelot Series.) Bibliography 261 Herford, C. H. Studies in the Literary Relations of Eng- land and Germany in the Sixteenth Century. Cambridge, 1886. Heywood, Thomas. Dramatic Works. 6 vols. London, 1874. Howell, James. Epistolae Ho-elianae. The Familiar Letters of J. 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Sylvester, Joshua. Works. Ed. A. B. Grosart. Edinburgh, 1880. (Privately printed.) Symonds, J. A. Ben Jonson. New York, 1886. (English Worthies.) Taine, H. a. History of English Literature (trans, by H. Van Laun). 2 vols. New York, 1872-1. Taylor, John. (The Water Poet.) Works comprised in the folio ed. of 1630. Manchester, 1868-9. (Spenser See. Pub.) Theophrastus. Characters (trans, by R. C. Jebb). London and Cambridge, 1870. Traill, H. D. (Ed.) Social England. 6 vols. New York and London, 1894-7. Wheatley, H. B., Cunningham, P. London Past and Present. 3 vols. London, 1891. Ward, A. W. A History of English Dramatic Literature to the Death of Queen Anne. 3 vols. London and New York, 1899. Woodbridge, E. Studies in Jonson's Comedy. Boston and New York, 1898. Wright, E. H. Authorship of Timon of Athens. New York, 1910. Wright, T. Dictionary of Obsolete and Provincial English. London, 1857. INDEX A. Actseon, identification with Ess- ex, XXV ff. ; with Nashe, xxv ; myth of, 172. Alden, R. M., his comment on Jonson's method of translation, Ixiv ; on Jonson's obligation to Horace, Ixiii. Andromeda, myth of, 200. Anjou, Duke of, 168. Anteros, 227. Arachnean, 197. Aristarchus, 189. Aristophanes, Birds, Frogs, Ixvi ; Plutus, Ixiv. Aristotle, NicomacheanEthics, 230. Aronstein, P., his view of Crites, xlvii. Ascham, Roger, Scholemaster, 197. B Bang, W., his list of variant readings from the folio xiii ; his reprint of the folio, xii, xiii ; his reprint of the quarto, vii. Barber-surgeon, 200. Baskervill, C. H., his opinion concerning the date of the quarto and of the folio, x ff . ; English Elements in Jonson's Early Comedy, cited, Ixi, Ixxii, 174, 181, 202, 221. Beards variously cut, 207. Beaumont, Francis, Letter to Ben Jonson, 228. Beaver hats, 179. Bird-eyed, 218. Black, worn by scholars, 164. Blackfriars, xxii, 159, 167. Block, 180. Blush no more than a sackbut, 185. Bracelet of hair, 234. Brazen head, 203. Brooke, C. F. T., his view in regard to alleged personal satire in Cynthia's Revels, li. Hi ; on Timon's relation to Cynthia's Revels, Ixxii. Buckets in a parish church, 178. Burning juniper, 192. Burre, Walter, 160. Button, 180. Candle-waster, 193. Carp has no tongue. 216. Carries meat in his mouth, 215. Carroche, 203. Castelain, M., on the diction of Cynthia's Revels, 169 ; estimate of Cynthia's Revels, Ixxvii. Catullus, 219. Chamberlain's Men, lii. Chapman, George, Ovid's Banquet of Sense, 174. Character -writing. Ixvi ff. ; in verse, 195 ; by Overbury and Earle, Ixix ; by Theophrastus, Ixx, Ixxi ; in Cynthia's Revels, Ixviii. Children of the Chapel, lii, 159. Cioppinos, 184. Cloak worn by speaker of pro- logue, 163. Clocks, 190. Cloves, chewing of, 189. Colors, wearing of, 212. Complementaries, 215. Constables, 189. Coryat, Crudities, 184. Costume, variety in, 191. Court commonplaces, 195. Court of Love elements in Cyn- thia's Revels, 221, 223. Courting-stock, 199. Index 265 Crack, 181. Cross pulled down by the Puri- tans, 177. Cutting of one cloth, upon another, 220. D Daffodil, 172. Dagonet, Sir, 224. Date of Cynthia s Revels, xxi ff . ; xxxii. Davies, Sir John, ridiculed by Jonson, 219. Day, Thomas, 236. Dekker, Thomas, arraigned as a plagiarist, lii, 166 ; his ridicule of Jonson for the use of connive., 203 ; Guls Hornbooke, 165, 193, 198 ; Old Fortunatus, 180, 202 ; Satiromastix, x, xlix, liii, Ivi, Ivii, 185, 233. Delia, 199. Dictionary method of speaking, 204. Dish of eels in a sand-bag, 193. Division, 173. Dogs, perfumed, 234. Donne, John, Satires, xxxvii ff . Dormouse, 194. Dramatis personcB, allegorical nature, xxiii, xxxiii ; allegorical significance, 162 ; their identity, xlvii f f . DueUng, 209—11. Dutch, satire on, 214. E Earle, John, his 'Idle Gallant,' Ixix. Echo, myth of, 163 ; songs and scenes, 174. Elizabeth, Queen, her defense by Jonson against dissatisfied citizens, xxiv ; flattery of, xxiii, 162 ; Jonson's real opinion of, 226 ; her last years, xxiv, lix ; represented by Cynthia, xlvii ; her representation in the masque, 229; unmoved by Cynthia's Revels, xxii. Emperor, the, 206. Encomium Demosthenis, 176. Essex, Earl of, see Actseon. Ex ungue leonem, 230. r Fadinger, 192. False teeth, 201. Fans, 190, 214. Far fet is good for ladies, 199. Feather, 211. Feature, 206. Ferrara, Dukes of, 176. Field, Nathaniel, 235. Fireworks, 207. Fleay, F. G., his identification of the characters in Cynthia's Revels, xxvff., xlviii. Folio of 1616, viii ff ., xii ff. ; of 1640, xvii; of 1692, xvii. Foot-notes to the text of Cyn- thia's Revels, xxi. Foreign languages, 198. Foretop. 195. French disease, 179, 182, 223. Fungoso, 204. G Gallienus, Epithalamlum, 223. Garters, 196 Gascoigne, George, Steele Glas, xxxviff., xli. Gentleman usher, 194. Gifford, William, his edition of Jonson, xviii ff . ; his estimate of Cynthia's Revels, Ixxiv ; his misstatement as to the re- ception of Cynthia's Revels, xxi ; his recording of Jonson's classical sources, Ixiii. Gloves, 208. Golden legacy, 206. Goldfinch, 208. Grammar, questions of, 167, 177, 183, 187, 188, 195, 196, 206, 226, 227, 230. Greg, W. W., his remarks re- garding variations in the im- pressions in the folio, xii. Guilpin, Edward, Skialetheia, xl. 266 Cynthias Revels H Hake, Edward, Neives out of Powles Churchyarde, xxxvi. Hall, Joseph, Virgidemiarum, xxxix. Hart, H. C, on tlie relationsliip of Timon to Cynthia's Revels, Ixxii. Hatband, 180. Healths, drinking of, 186, 202. Helicon, 176. Hieronimo^ 168. Hiring of apparel, 182. ' His' used instead of genitive inflexion, 170. Hoffschulte, H., his identification of Actaeon and Niobe, xxv. Horace, 176. Hospitals, 165, 177. Interpreter for puppet-shows, 203. Italian manner, the, 180. Italian print, 192. Jails, 165. Janus, 218. Jonson, Ben, his arrogance, 166, 235 ; attitude toward fencing, 209 — 11 ; as a character- writer, Ixvi ff . ; his opinion of court- iers, xli ff. ; his defense of Elizabeth, xxv; his dislike of ' ignorant critics,' 168 ; his effort to secure advancement at court, xxv ; his fondness for what he had written, xxxij. his opinion of the multitude, 229 ; as a realist, Ivii, Iviii ; his reverence for royalty, xxxi ; his revision of the quarto of Cynthia's Revels, viii ; spelling of his name, 160 ; Alchemist, xUii, xxxix ; Bartholomew Fair, Ix; Catilitie,lxni; Conversations with Drummond, xxxvii, xli, xliv, Iviii ; Epiccene, xiii, Ixxi ; Epigrams, xxxviii ; Every Man in his Humor, xviii, Ixxiv ; Every Man out of his Humor, xii, xxxii, xxxtii, xxxix, xlv, xlvi, xlviii, xlix, Iviii, Ixvii, Ixxi ; Explorata, xxxi, xliii, Iviii, Ixiv, 161, 169, 199; Netv Inn, Ixxi ; Poetaster, x, xi, xxviii, xliv, xlviii, 1, Hi, liii, Iv —Ivii, Ixiii, Ixiv ; Sad Shepherd, Ivii ; Staple of Neivs, Ixv ; Time Vindicated, xxxi ; Volpone, xliii, Ixx. Juvenal, 160, 167, 187, 201, 211. K Kyd, Thomas, Spanish Tragedy, 198, 199. Lace, gold, 186. Lamp, smelling of the, 194. Latinized spelling, 172. Laundress, 167. Laura, 199. Lepanto, battle of, 200. Lindabrides, 197. Lions in the tower, 216. Lodge, Thomas, Fig for Momus, xxxviii. Long heel, 200. Love as the first principle of life, 225. Lucian, adaptation of, Ixiii, 170ff. Jonson's admiration of, 176 Dialogues of the Gods, Ixiii Timon the Misanthrope, Ixiv. Lucrece, 218. Lupus in fahula, 189. Lyly, John, his frequent use of Cupid ridiculed, 163 ; Endimion, Iviii, Ix, 225, 226; Gallathea, Ixi ; Mydas, Sapho and Phao, Iviii. M Marston, John, arraigned as a plagiarist, lii, 166 ; his 'fustian' vocabulary, 191 ; Histriomastix, xliv — xlvi ; Jack Drum's Enter- tainment, xlvi ff . ; Metamor- phosis of Pigmalions Image, Index 267 Scourge of Villanie, xl, xlv ; What You Will, xl, liii ff . Martial, 161, 220, 235, 236. Masques, Jonson's first attempt at, 227 ; costumes in, 228. Master of Revels, 236. Matter preferred to words, 169. McKerrow, E,. B., his treatment of variations in impressions in Tlie Devil's Charter, xv. Melancholy, 188. Mermaid edition of Cynthia's Revels, xix. Middleton, Thomas, his imitation of the Palinode, 233 ; Micro- Cynicon, xli. Milton, John, Lycidas, 173. Mirror of Knighthood, 198. Mirrors carried by gallants, 188. Monkey as pet, 182. Motion, a puppet-show, 174, 181, 201. Muff, 183 Music, a form of recreation at court, 207 ; of the spheres, 173. N ]Naslie, Thomas, Lenten Stuffe, 183, 206. Niobe, identification of, xxv ff . ; myth of, 173. Nicholson, B., discussion of Jon- son's punctuation, 153. O Oaths, Jonson's opinion of, 187 ; legislation against, viii. ' Of,' its use to denote transfor- mation from aformer state, 231. Onyx as receptacle for perfume, 222. Ordinaries, 193. ' Or so,' 179. Outsides, 194. Overbury, Thomas, his character- sketches, Ixix. Painting, satire on, 215. Panther, breath of, 222. Paul's Churchyard, 161. Pavy, Salathiel, 236. Pawning of garments, 205. Penniman, J. H., War of the Theatres, cited, xliv, xlviii, xlix, liv. Persons of the play, see Dram- atis personce. Philosopher's stone, 183. Pictures on the stage, 166. 'Piece,' 175. Piece of perspective, 166. Plato, Symposium, 225. Play-ends, 202. Pliny, Natural History, 220. Poesies for rings, 185. Poisoning faces, 201. Pomander, chain of, 221. Post-boy's horn, 200. Potatoes and oyster pies, 184. Presence, 187. Priapus, 177. Pride v/ill have a fall, 185. 'Privately acted,' 159. Properties, stage, 166. Prophecies, a game, 205. 'Protest,' 179. Proteus, 196. Pseudo-courtship, bitter ridicule of, 197. Puritan, 209. Purposes, a game, 205. Purse, embroidered, 204. Pythagorical, 205. Q Quarto of Cynthia's Bevels, vii. Queen of Love, 221. Quotation-marks as used by Jon- son, 172. R Ragioni del stato, 111. Reception of Cynthia's Revels, xxi ff . Revision of the quarto, viiiff. Revival of old plays, 167. Ribbons, 220. Riddles, 205. Rimer, 182. Roses on shoes, 178. ^^_ — Rushes, 192. 268 Cynthias Revels Salt, drinking below the, 185. Satire in Cynthia's Revels, of manners, xxxii ff. ; of persons, xlivff. ; influenced by Jonson's predecessors, Ixvi. Saved by bis book, 163. Scots Tragedy, lii. Shakespeare, William, As You Like It, 1 Henry IV, xliii ; Love's Lahor^s Lost, xliii, Ixii, 196 ; Timon of Athens, Ixxii, Ixxiv. Sheriffs' posts, 178. Ships, launching of, 182, Shoe-ties, 208. Short hair, 200. Shuttle-cock, 172. Sitting on the stage, 165. Sixth return upon venture, 175. Small, R. A., St age- Quarrel, cited, xi, xxvii, xxix, xxxii, xliv, xlv, xlix, liv, 224. Soldered groat, 187. Sources of Cynthia's Revels, Ivii ff . Southern, John, Jonson's ridicule of, 209. Stabbing of arms, 202. Stansby, William, 161, Stationers' Register, 160, Suburb, 192. Suit of buff, 194, Svpinburne, A, C, criticism of Cynthia's Revels, Ixxvi ; his view of the satire in Cynthia's Revels, xlviii. Tagus used for the Pactolus, 232. Taine, H, A., his comparison of I Cynthia's Revels with Aris- tophanes' satires, Ixv. Taste delights to, 202. Tennis, 183. Term, 201. Theatres, entrance price, 164 ; women at, 234 ; rivalry be- tween, lii. Theophrastus, Characters, Ixx — Ixxii. Timon, Ixxii ff. Tobacco, 165. Toothpicks, 189. Travel, 175, 178, 197. U Underwood, John, 236. Variants, their value, xx. Vice, buffoon of the moralities, 188. Virgil, 211. W Waiting close, 164. Walls, taking of, 195. Ward, A. W., his estimate of Cynthia's Revels, Ixxv ; on Actseon and Niobe, xxv. Weeping cross, 232. Whal ley, Peter, edition of Jonson, xvii ff . ; his belief in the excellence of the folio, xx. ' When mendisgraces share,' 224. Whetstone, 164, 181, 184. Whiff, 234. Wyatt, Thomas, first English satirist, xxxvi. YALE STUDIES IN ENGLISH. Albert S. Cook, Editor. I. The Foreign Sources of Modem English Versification. Charlton M. Lewis, Ph.D. $0.50. II. iElfric : A New Study of his Life and Writings. 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LB 'i2 YALE STUDIES IN ENGLISH ALBERT S. COOK, Editor XLV CYNTHIA'S REVELS OR, THE FOUNTAIN OF SELF-LOVE BY BEN JONSON Edited with Introduction, Notes, and Glossary BY ALEXANDER CORBIN JUDSON, Ph.D. Instructor in English in the University of Texas A Thesis presentad to the Faculty of the Graduate School of Yale University in Candidacy for the Degree of Doctor of Philo«ophy NEW YORK HENRY HOLT AND COMPANY 1912 tkoni)g^i^^ ^ t