A A = — ^■- A^ LT: = : i_ ^-^ —i n = n: m = 30 3 m 4 = 5 m ^^^ f— ^^ a; 7 m =^ X 7 = 81 5 " Univers Souti Lib ,/■ ro of School SHAKESPEARE ASSOCIATION (Incorporating^ the Shakespeare Day Committee) Honorary Presidenls :T\\&^t. Hon. the Earl OF BALFOUR, K.G.,O.M. : H.R. the American Ambassador. Chairman : Sir I. GOLI.ANCZ, King's College, London, W.C. Presented by Sir Charles Wakefield, Bart., Honorary Treasurer of the Association. UNIVERSITY of CALIFORNIA AT LOS ANGELES LIBRARY THE SHAKESPEARE LIBRARY GENERAL EDITOR PROFESSOR I. GOLLANCZ, LiTT.D. RICH'S APOLONIUS AND SILLA w RICH'S 'APOLONIUS & SILLA,' AN ORIGINAL OF SHAKESPEARE'S 'TWELFTH NIGHT': Edited by MORTON LUCE CHATTO & WINDUS, PUBLISHERS LONDON MDCCCCXII 87763 \"' All ri^kti reserved. EKKATA Pref. Note, last line Imt live:, for 91 read yj ; lasl line, for p. 89 read pp. 90 and 91. p. 9, 1. 12, for " Curnouale" read " Carnouaie." p. 13, 1. 10, after " evil-" supply "or ill-"; 1. \-i,dele 66. p. 47, 1. 16, add "they bear, however, other interpretations"; 1. 17, dele " her." p. 49, 1. 14, for 66-6S ?-f«* due for his kind permission to print the extracts (on pp. V 31-38) from his excellent version of Bandello. I have also "^ availed myself of Peacock's version of G/'/wj'aww;?// (London, 1862). I must further express my obligations to Professor Moore-Smith's edition of Laelia, Cambridge University ^ Press, 19 10. As to Mr. Maurice Hewlett in the Caxton vj Shakespeare, I owe him an apology, or he owes me one. He writes (Introduction to Tivelfth Night, page xiv. ), "Mr. ^ Morton Luce suggests that Olivia's steward may be scented ^ here" (in the Malevolti oi GPItigannati). I owe him the "^ apology, because, in the first edition of my Handbook to ; Shakespeare, published April 1906, I did write — "he found ^ as I believe, the name Malevolti, and changed it to Maholio." ^ But about a month later Mr. Hewlett would have read in my (newly published) Arden Edition of Tivelfth Night, ^age x — "he doubtless found the name Malevolti, and changed it, as I believe, to yiguecheek." For by that time I had ix X PREFATORY NOTE discarded the first and well-known conjecture, due, I think, to Hunter. So also I made an alteration in the second edition of my Handbook, 1907. The fact is that, a little before April 1 906, in correspond- ence with Mr. Hewlett, I approved of his Mala Voglia for Mahoito. I hope he will approve of my Mak'volti for Aguecheeh. Professor Moore-Smith, by the way, quotes only my later suggestion [Laelia, p. xxvi). To Professor Moore-Smith, moreover, we are much indebted for a very probable origin of the name Feste. All this may appear trifling — or useless conjecture ; but in the matter of Shakespearean investigation, every little helps; nay rather, is invaluable (pp. 4 and 91). Indeed, it is more than possible that the mere history of three names opens for us three volumes of Shakespeare's library ; Aguecheeh (other- wise Agueface, but see also p. 13) may take us to Malevolti and GV Ingannati, Mal-voUo to Mala Vogl'ia and Bandello (p. 13) ; and Feste to Lael'ta (p. 89 in this volume). CONTENTS I. Introductory .... II. The Sources of ' Twelfth Night ' III. The Italian Plays . IV. Bandello and Belleforest V. Minor Suggestions . VI. Apolonius and Silla VII. Remaining Sources . Appendix I : Notes on ' Apolonius and Silla ' II: Dr. Gollancz on ' Malvolio ' PAGE I 7 9 27 42 46 86 94 95 XI APOLONIUS AND SILLA CHAPTER I INTRODUCTORY Whatever doctrine we may hold with regard to tlie study of poetry, it is certainly worth while to get at a poet's meaning. If we are content with a rapid perusal — a mere impression — we lose or destroy a great part of the beauty of his work ; accurate knowledge must come before appreciation. And this is truer of Shakespeare than of any other writer. For example, it is only by a reference to his originals that we can explain such passages as the following : — (a) '* Even by the rule of that philosophy By which I did blame Cato for the death Which he did give himself, I know not how. But I do find it cowardly and vile, ..." Julius Ctesar, V. i. 101-4. (^) " Here feel we but [FoL not) the penalty of Adam." v4s Tou Like It, II. i. V. (r) " No occupation ; all men idle, all ; " The Tempest, II. i, 156. B 2 APOLONIUS AND SILLA (i-/) " And laid mine honour too unchary out [Fol. on't) :" Tivelfth Night, III. iv. 2 2 2. [e) *< After the last enchantment you did here," Ibid., III. i. 123. Now, passages like the foregoing are fairly numerous ; it will therefore be evident that a study of Shakespeare's authorities is essential to a perfect understanding of his work. Yet this elucidation of the text is but one of the many advantages we may gain by spending a few hours in the poet's library. Again, the admission that Shakespeare was the most creative and the most spontaneous of writers should lend a new interest to the fact that he was also a student and a keen literary craftsman. Let us further admit the gradual change of his style from restraint to freedom ; and on this subject a few words must be said here. Of Shakespeare it may be stated, more truly than of Spenser or Marlowe, that he was an artist before he became a poet. His Venus and his Lucrece are poems of the study; their art is cold almost to artifice ; their natural world, most of it, is Pliny's. Not till about 1600 does Shakespeare rise to the very height of his high calling. In Hamlet, as a border-ground play, and whether in jest or earnest, he gives us the two styles : the conventional and the creative, side by side ; but after that, his utterance is magnificent with a freedom which seems to have burst the bonds of art itself. By this time also he becomes natural in his dealings with nature, and over against the bookish imagery which abounds in his earlier plays we have to set the perfect freshness and INTRODUCTORY 3 reality of the descriptive passages in Cymbeline or T^be Winter s Tale.^ But this is the point to be noticed : although Shakespeare freed himself at length from the trammels of artifice, his / literary methods remained much the same ; from first to last he was as close a reader as he was an assiduous writer ; he revised, he enlarged ; he never entirely lost sight of the requirements of art, whether in respect of substance or form ; there is no thinness in his work ; he can never be accused of literary poverty. And let us look at him personally for a moment. In the Sonnets he appears, to some extent at least, as a man of letters among men of letters ; as Hamlet, he is a student ; as Prospero, he is a scholar and a philosopher ; the liberal arts have been all his study, and he has learned to prize his books above a dukedom. Yet again ; in one of his first essays, that essay ot Antitheta, Love's Labour s Lost, he gives study the best of the argument; his caution against witless pedantry is followed by many an assertion of " study's excellence " ; and everywhere he con- fesses the need and the potency of true learning. The number of books or manuscripts he consulted when writing or revising his Midsummer Night's Dream is astonishing : but we have not heard of them all ; and we may at least conjecture of a large number that are unknown to us. Also, at the end ' Let the reader compare, for example, the untruth of A Midsummer Night's Dri-am, II. i. 249-254, with the unsurpassable truth and beauty of almost any of the nature transcripts in the two later plays mentioned above. B 2 y 4 APOLONIUS AND SILLA of his career, even as at the beginning, he is careful to collect authorities, to compare them, to note, to select, to reject ; in The Tempest, for example — apart from Die Schone Sidea, which he had almost certainly worked at before — he makes extracts from no fewer than three accounts of the wreck of Sir George Somers ; he borrows at his will any striking passage, or sentence, or phrase — or even word;^ he consults other pamphlets bearing on the subject, — he goes yet further : he looks up Hakluyt, where he discovers not only Caliban, but also Caliban's mother, the blue-eyed hag ;- he turns over the records of Captain John Smith, where he meets for the first time with Miranda, as Pocahontas, and eventually he suits her to the heroine of Die Schone Sidea, much as in Malvolio he adapts some contemporary dramatic character or (more likely) some living personage of his day to the requirements of Gl Ingannati and his Tivelfth Night. And precisely as in The Tempest, so in the preparation of this earlier play he gathers together every available version of his story, and from one he takes an incident, from another a striking passage, and from another a mere phrase or a name. Like The Tempest, Tivelfth Night is a double drama — a romance with the interplay of a comedy ; and as the romantic 1 It may partly be due to liis dramatic apprenticeship, but the fact remains that Shakespeare is one of the most extensive and most unscrupulous of borrowers. His greatness may excuse the fact, but it should not blind us to it. 2 "The women are marked in the face with blewe strekes . . . round about the eyes." — Hakluyt (Maclehose), vol. vii. p, 209 (W. J. Craig). INTRODUCTORY 5 portion of the earlier play was present to the poet's mind, and possibly moulded by his art, before the comic under-plot was thought of, so I believe that the Viola story had been under Shakespeare's consideration some years, it may be, before a passing event, or the signs of the times — or both perhaps, as again in the case of The Tempest — brought the drama to its sudden birth. ^ To this we have a parallel in The Merry Wives of Windsor^- and only in this way can we account for its rapid production. Among other plays to be reckoned with under this head are AW s IVe// and Troilus and Cressida, the latter especially ; for I am convinced that some beautiful story of Cressida, as Shakespeare alone could have told it, was spoilt by its ultimate combination with the war episodes. Sometimes, moreover, in these double plays we may ante-date the romance on the mere evidence of its style. I do not wish to press any of these parallels too closely, yet there are other points of resemblance between The Tempest and Twelfth 'Night that may well be taken into account. In each of these plays the leading motive may be claimed, I 1 Compare the remark of Professor Moore-Smith quoted on p. 26. - Where Mumpellgart (Garmombles) may stand for Malvolio. And, oddly enough, Virginio Orsino, Duke of Bracciano, who was ambassador to England in the winter of 1600-1, and was enter- tained by Elizabeth on Twelfth Night, will correspond to the Count Mumpellgart of The Merrj/ Wives, who paid a visit to the Queen at that earlier date. In the case of Tivelfih Night, however, the comedy may have been suggested, at least in part, by Gl' Ingannati. Moreover, Falstutf appears, not as Malvolio (formerly Mumpellgart). but as Sir 'I'oby. This, of course, is conjectural, but I do not quite like giving up tiie Mumpellgart tradition. 6 APOLONIUS AND SILLA think, by the comedy, and the leading personage of the comedy is complex ; Caliban — the monster, the slave, and ^ the aboriginal Indian — is the embodiment of supernatural, social and political ideas ; and Malvolio may represent, first, the pride of place, the pride of a man drest in a little brief authority ; next, the more ludicrous pride ot a man who is proud of himself; and thirdly, he is at least "a kind of Puritan." But it may be more to my purpose if I end this part of my subject with the remark that, when quoting Ovid for his 'Tempest.) Shakespeare, as I have shown elsewhere, used both a translation and the original Latin ; and it is my firm belief that whatever translations of GPIngannatl he may have employed for his Twelfth Night, he consulted the Italian originals as well.^ , For GV Ingannati is certainly not the least in importance among the many sources of Tzvelfth Night, although by general consent the Apolotitus and Si/la of Barnaby Rich has long taken precedence. On these and other possible originals of Shakespeare's play I will now comment in some detail. ^ "It seems to have been from Bandello that our poet got his main plot for Tivelfih Night. . . . Bandello would have been the more accessible." — Heivlett. And of course Shakespeare was indebted to Bandello on other occasions ; and in this play to more Uian the Nicuola story, if he had in mind BandtUo's widowed Duchess of Malfy, who fell in love with and married her steward Antonio. (^Novelle, pt. I., Nov. 26.) jlU/lx^., ^ CHAPTER II THE SOURCES OF '' TWELFTH NIGHT )> The following is a list of books some of which were consulted — as we may conjecture — by Shakespeare when at work upon his play of Tzcelfth 'Night : — 1. GV Ingannati (in the volume entitled II Sacrlficio, Comedla JeGW In tronati). Author unknown. First acted i 531 ; published at Venice 1537. Frequently reprinted. 2. Le Sacrifice (later Les Abuses, by Charles Estienne. Lyon, 1543. A French version of the above. 3. Gringarmi, by Nicolo Secchi, or Seccho. Florence, 1562. First acted 1547. ^j^Nove/k, by MattQO Bandello. La seconda parte, Lucca, 1554. 5. Los Engafios, or Los Engafiailos, by Lope de Rueda, 1556. First printed Valencia 1567. 6. La Espahola de Florencia, or Las Burlas Veras. Author and date uncertain. 7. HecatommUh'i, or Cento Novelle, by G. B. Giraldi Cinthio. Monte Regale, 1565. 8. //ij-/o;Vfj Trflf/yMfj-, by Francois de Belleforest. Vol. iv. Paris, 1570. 7 8 APOLONIUS AND SILLA 9. Riche his Farewell to Milharle Profession, by Barnabe Riche. London, 1581. 10. Lalia, MS. Acted before Lord Essex at Queens' College, Cambridge, probably on March ist, 1595. 11. GF Ingannif by Curzio Gonzaga. Venice, 1592. 12. Gl' Inganni, by Domenico Cornaccini. Venice, 1604. All the books mentioned in the foregoing list tell in some form or other the story which Shakespeare chose for the romantic element in his play of Tivelfth Night. But we have now to remark that the story itself is twofold ; and, oddly enough, each of its component parts had been used separately by Shakespeare in plays anterior to Ttvelfih Night ; for one of the members of this composite story, the confusion arising from the likeness of twins, is the subject of his Comedy of Errors ; and in his Tivo Gentlemen of Verona he had dramatized, or partly dramatized, the other. This is the popular romance of a woman disguised as a page who falls in love with her master, yet pleads his cause with another woman, who in turn falls in love with her. As to the first of these stories, we can trace it far back through the centuries ; it appears in the Greek AtSu/xot, from which Plautus adapted it in his Mena-chmi, and Shakespeare again founded his comedy on Plautus. But as to the second story,^ we may begin with the Italian play GV Ingannati, in which it is already bound up with the first. 1 For one of its earlier forms, see the quotation from Belleforest, p. 39. See also page 92. CHAPTER III THE ITALIAN PLAYS Though not published till 1537, this Italian play GF Ingannati was acted as early as 1531 ; and in their Prologue the authors ^ assure us that their comedy contains much that was " never seen or read." It is therefore most likely that Bandello and Cinthio and some others who retold the story were indebted to GY Ingannati. And Gl' Ingannati, we must add, while bringing in romantic elements, owes much to Plautus. The volume, which contains GP Ingannati (The Deceived, Cheated, Dupes), was put forth by a literary society of Siena who called themselves the Intronati ; its full title (1538) is Comedia del Sacr'ificlo degll Intronati celebrato n:i Gluochi dun Curnouale in Siena. The Sacrifice, or Induc- tion, or Introduction, consists of sonnets and poems supposed to be sung to the lyre by each member of the society as he casts into an altar flame some token of a mistress who has deserted him. Only one of the members is mentioned by name — " Messer Agnol Malevoki un Cupido scolpito, dono della sua donna" (Mr. Agnol Malevolti, a sculptured Cupid, the gift of his lady) ; and this is followed ' "To be put into a comedy by the Intronati" {Gi^ Jngatinati\ Composed, they tell us, in about three days. lo APOLONIUS AND SILLA by his verses. After the Introduction we have on the fourteenth page of the volume Prologo dell'i Ingatmati dclli Jntronat'i, and on the eighteenth page begins the prose comedy of five acts, i.e. GV Iiigannat'i. This volume was first published at Venice in 1537, and other editions appeared at frequent intervals before 1602, a fact which testifies to its great popularity ; and within the same years several imitations or translations were pub- lished in Italian, French, Spanish, and Latin. The following is a short version of the twofold story as we read it in GV Ingatmati: — The scene is in Modena. An old merchant, Virginio, has a son and a daughter, Fabrizio and Lelia. In the sack of Rome 1527, Fabrizio was lost sight of, but Lelia returned with her father to Modena. A rich old man, Gherardo, wishes to marry her ; but she loves Flaminio, though in her absence he had transferred his affections to Isabella, daughter of Gherardo. Lelia assumes male attire and the name Fabio, and becomes a page in the household y/ of Flaminio, who sends her on love embassies to Isabella. This lady falls in love with Lelia, who has none of the honesty of Viola in livelfth Night, but bargains — " Perhaps I may love you, if you dismiss Flaminio." ^ At this time Lelia's brother Fabrizio comes to Modena with his tutor Piero, who shows him the " remarkable 1 Here Shakespeare seems to follow Ricli (see pp. 63, 64), but Laelia resembles GV Ingannat}. Bandello takes a inicidle course, and makes Nicuola partly honest. See pp. 33, 34, THE ITALIAN PLAYS ii places" in the town (see Tzvelfth Night, III. iii. 19, 23, 24). Meanwhile Virginio has discovered that LeJia is living with Flaminio in the disguise of a page, and as he is talking the matter over with Gherardo the two old men encounter Fabrizio. They take him for Lelia, whom he closely resembles, and thinking from his remarks that he must have lost his wits, they lock him — her, as they imagine— up in the very chamber of Isabella in Gherardo's house. Next, Gherardo meets Lelia, and thinking that she must have escaped, returns to his house, where he finds that Fabrizio and Isabella are betrothed. And now, in the Fifth Act, all parties meet at the house of Gherardo, and there follow recognitions and reconcilia- tions. Isabella, like Olivia, is content with her substitute, Fabrizio ; and Flaminio, already influenced by explanations from Lelia's nurse, gladly returns to his old love. Only Gherardo, like Malvolio, fails to take full share in the general joy. Such is the story in outline ; but after this brief summary I must give some account of the farcical element which is an important feature of GP Ivgannati, especially in its relation to Tzcelfth Night. First of all we have a pedant in Piero, the tutor who accompanied Fabrizio to Modena. There is a sketch of him in one of the extracts appended to this chapter. In the same extract appears Stragualcia, servant of Fabrizio, whose dealings with Piero are not unlike those of Sir Toby with Malvolio. Another character 12 APOLONIUS AND SILLA in tlic play, an old Spaniard, Giglio by name, has the audacity to protest his love for Isabella ; whereupon / Pasquella, housekeeper of Gherardo, " gulls him into a nayword " with a trick that brings her both amusement and profit. If to the grasping old dotard Gherardo we add the pedant Piero and the dupe Giglio, we have a character who might serve as a first suggestion of Malvolio. And if with Pasquella we reckon Lelia's nurse, Clementia, we have a combination that might rival Maria. Nor is this ^ all : the likeness of Stragualcia to Sir Toby would be increased by the addition of Gherardo's servant, Spela. Stragualcia, moreover, with his scraps of mad Latin and his ridicule of pedantry, may be a dim foreshadowing of Feste. So important, indeed, is this humorous element, that I will anticipate a little by stating it as my belief that, apart from the novel of Rich, the comedy in Ttcelfth N'lglii was inspired by G/' Ingannati, and the romance of the play by Bandello. But before passing on to this Italian novelist to whom Shakespeare owed more than the romance of Twelfth Night, I must bring forward those items of evidence which go far to prove the relation of Twelfth Night to G/' Ingannati. On Shakespeare's employment of translations I have remarked already, and I see no objection to the supposition that he used the Latin version of G/' Inganmti (the tenth on our list), if not the French ; but I also believe that he had access to the play in the original Italian. Like the Spanish, which also appears among our possible authorities, THE ITALIAN PLAYS 13 Italian comes very easily to an Englishman who knows something of Latin, as Shakespeare did ; and I cannot believe that a dramatist of his genius and experience could have allowed himself to remain ignorant of the literature which was most to his advantage. It is, I think, beyond doubt that he found the title of his play in the Italian "la notte di Betfana " (/. ^. the night of Befania or Epifania, or Epiphany), a phrase which occurs in the Prologue to G/' Ingannatl (p. 10). And in the Induction we have met with Malevolti (evil-faced), which Shakespeare turned, as I think, into the name of "that thin- faced knave " Ague-cheek, especially as we may read {^Twelfth Nighf, I. iii. 45, 46) 66 Cdstiliano volto ! (Spanish-face) for here comes Sir Andrew Ague-face.'''' So also I think (the hint came to me by letter from Mr. Hewlett) that, with Bandello before him and Malevolti in his memory, he coined Malvollo from the Italian main vogl'ia (evil desire), a phrase which occurs no fewer than seven times in the Novella XXXVI of Bandello, which he appears to have been studying for the purpose of Twelfth Night. It is also probable that he took his Fabian from the Fabio (the name assumed by Lelia in disguise) in the Italian play ; but we must remember, as I have remarked else- where, that Shakespeare naturally preferred to give new names to his characters ; sometimes he is careless in this matter, but at others he refuses to call a single personage by the name given in an earlier drama or story. Nor 14 APOLONIUS AND SILLA does he differ from other authors in this respect : Rich, as we shall see later, changed the names of all the characters when writing his version of the Twelfth Night story. Moreover, in the text of GP Ingannati there are many expressions that seem to find a place in Shakespeare's drama ; as an example, I may choose " When I brave him, he is soon silenced " (extract, p. 23), which may be com- pared with the curious passage " you should have banged the youth into dumbness " [Tu-clfth Night, III. ii. 22-3). I will now add a few extracts from T. L. Peacock's version o^ GP Ingannati (London, 1862). Dramatis Persons. Gherardo Yo\dim, father of Isabella. Virginio Bellenzini, father of Lelia and Fabrizio. Flaminio de Carandini, in love zvith Isabella. Fabrizio, son of Firgifiio. Messer Piero, a pedant, tutor cf Fabrizio. L'Agiato, 1 . , , , , Vrival hotel-keepers. Fruella, J ^ Giglio, a Spaniard. Spela, servant of Gherardo. Scatizza, servant of Firginio. Crivello, servant of Flaminio. Stragualci, servant of Fabrizio. Lelia, daughter of Virginio, disguised as a page, under the name of Fabio. THE ITALIAN PLAYS 15 Isabella, daughter of Gherardo. Clementia, nurse of Lelia. Pasquella, housekeeper of Gherardo. Cittina, a girl, daughter of Clementia. Act II. — The Street, with the house of Fiaminio. Enter Lelia {as Fabio) and Fiaminio. Fiaminio. It is a strange thing, Fabio, that I have not yet been able to extract a kind answer from this cruel, this ungrateful Isabella, and yet by her always receiving you graciously, and by giving you willing audience, I am led to think that she does not altogether hate me. Assuredly, I never did anything, that I know, to displease her ; you may judge from her conversation, if she has any cause to complain of me. Repeat to me what she said yesterday, when you went to her with that letter. Lelia. I have repeated it to you twenty times. Flam. Oh, repeat it to me once more. What can it matter to you ? Lelia. It matters to me this, that it is disagreeable to you, and is, therefore, painful to me, as your servant, who seek only to please you ; perhaps these answers may make you vexed with me. Flam. No, my dear Fabio ; I love you as a brother ; I know you wish me well, and I will never be wanting to you, as time shall show. But repeat to me what she said. Lelia. Have I not told you ? That the greatest pleasure i6 APOLONIUS AND SILLA you can do her is to let her alone ; to think, no more of her, because she has fixed her heart elsewhere ; that she has no eyes to look on you ; that you lose your time in following her, and will find yourself at last with your hands full of wind. Flam. And does it appear to you, Fabio, that she says these things from her heart, or, rather, that she has taken some offence with me ? For at one time she showed me favour, and I cannot believe she wishes me ill, while she accepts my letters and my messages. I am disposed to follow her till death. Do you not think that I am in the right, Fabio ? Lel'ia. No, signer. Flam. Why? Ld'ia. Because, if I were in your place, I should expect her to receive my service as a grace and an honour. To a young man like you, noble, virtuous, elegant, handsome, can ladies worthy of you be wanting ? Do as I would do, signor ; leave her ; and attach yourself to some one who will love you as you deserve. Such will be easily found, and perhaps as handsome as she is. Have you never yet found one in this country who loved you ? Flam. Indeed I have, and especially one, who is named Leiia, and to whom, I have often thought, I see a striking likeness in you ; the most beautiful, the most accomplished, the best-mannered young girl in this town ; who would think herself happy, if I would show her even a little favour ; rich and well received at court. We were lovers nearly a year, THE ITALIAN PLAYS 17 and she showed me a thousand favours ; but she went to Mirandola, and my fate made me enamoured of Isabella, who has been as cruel to me as Lelia was gracious. Lelia. Master, you deserve to suffer. If you do not value one who loves you, it is fitting that one you love should not value you. Flam. What do you mean ? Lelia. It you first loved this poor girl, and if she loved and still loves you, why have you abandoned her to follow another I Ah, Signor Flaminio ! you do a great wrong, a greater than I know if God can pardon. Flaw. You are a child, Fabio. You do not know the force of love. I cannot help myself. I must love and adore Isabella. I cannot, may not, will not think of any ^ but her. Therefore, go to her again ; speak with her ; and try to draw dexterously from her wliat is the cause that she will not see me. Lelia. You will lose your time. Flam. It pleases me so to lose it. Lel'ia. You will accomplish nothing. Flam. Patience. Lel'ia. Pray let her go. Flam. I cannot. Go as I bid you. Lel'ia. I will go, but Flam. Return with the answer immediately. Meanwhile I will go in. Lel'ia. When time serves, I will not fail, c i8 APOLONIUS AND SIT, LA Flam. Do this, and it will be well for you. \Exit Flaminio. I.elta. He is gone in good time ! — -Here is Pasqueila coming to look for me. \_Enter Pasqueila. ■* * * -if * Leila. Remember what you have promised me. Isabella. And do you remember to return to me. One word more. Lelia. What, more ! Isab. Listen. Lelia. I attend. hah. No one is here ?- Lelia. Not a living soul. Isah. Come nearer. I wish Lelia. What do you wish \ Isab. I wish that you would return after dinner, when my father will be out. Lelia. I will ; but if my master passes this way, close the window, and retire. Isah. If I do not, may you never love me. Lelia. Adieu. Now return into the house. Isab. I would have a favour from you. Lelia. WHiat? Isab. Come a little within. Lelia. We shall be seen. Scatizza \_asi(le']. She has kissed him. THE ITALIAN PLAYS 19 Crivello [aside^. I had rather have lost a hundred crowns than not to have seen this kiss. What will my master do when he knows it ? Scat. [astde~\. Oh, the devil ! You won't tell him? Isab. Pardon me. Your too great beauty, and the too great love I bear you, have impelled me to this. You will think it hardly becoming the modesty of a maid, but God knows, I could not resist. Lel'ta. I ask no excuses, signora. I know too well what extreme love has led me to. Isab. To what ? Lel'ia. To deceiving my master, which is not well. hah. Ill fortune come to him ! Lel'ta. It is late. I must go home. Remain in peace. Isab. I give myself to you. Lel'ta. I am yours. [Isabella goes i/i.'] I am sorry for her, and I wish I were well out of this intrigue. I will consult my nurse, Clementia. — But here comes Flaminio. ***** Scene. — The Street, ivith the house oj Flaminio. Flaminio. Is it possible, that I can be so far out of myself, have so little self-esteem, as to love, in her own despite, one who hates me, despises me, will not even condescend to look at me ? Am I so vile, of so little account, that I cannot free myself from this shame, this torment ? But here is Fabio. Well, what have you done ? c 2 20 APOF.ONIUS AND SILLA Leila. Nothing. Flam. Why have you been so long away ? Lelia. I have delayed, because I waited to speak with Isabella. Flam. And why have you not spoken to her ? Leliii. She would not listen to me ; and if you would act in my way, you would take another course, for by all that I can so far understand, she is most obstinately resolved to do nothing to please you. Flam. Why, even now, as I passed her house, she rose and disappeared from the window, with as much anger and fury as if she had seen some hideous and horrible thing. Lelia. Let her go, I tell you. Is it possible that in all this city there is no other who merits your love as much as she does ? Flam. I would it were not so. I fear this has been the cause of my misfortune ; for I loved very warmly that Lelia Bellenzini of whom I have spoken ; and I fear Isabella thinks this love still lasts, and on that account will not see me ; but I will give Isabella to understand that I love Lelia no longer ; rather that I hate her, and cannot bear to hear her named, and will pledge my faith never to go where she may be. Tell Isabella this as strongly as you can. Lelia. Oh me ! Flam. What has come over you ? What do you feel ? Lelia. Oh me ! Flam. Lean on me. Have you any pain ? Lelia. Suddenly. In the heart. THE ITALIAN PLAYS 21 Flam. Go in. Apply warm cloths to your side. I will follow immediately, and, if necessary, will send for a doctor to feel your pulse and prescribe a remedy. Give me your arm. You are pale and cold. Lean on me. Gently, gently. [Leads her into the house and returns.'^ To what are we not subject ! I would not, for all I am worth, that anything should happen to him, for there never was in the world a more diligent and well-mannered servant, nor one more cordially attached to his master. [Flaminio goes off, and Lelia returns. Leiia. Oh, wretched Lelia ! Now you have heard from the mouth of this ungrateful Flaminio how well he loves you. Why do you lose your time in following one so false and so cruel I All your former love, your favours, and your prayers were thrown away. Now your stratagems are unavailing. Oh, unhappy me ! Refused, rejected, spurned, hated ! Why do I serve him, who repels me ? Why do I ask him, who denies me ? Why do I follow him, who flies me ? Why do I love him, who hates me ? Ah, Flaminio ! Nothing pleases him but Isabella. He desires nothing but Isabella. Let him have her. Let him keep her. I must leave him, or I shall die. I will serve him no longer in this dress. I will never again come in his way, since he holds me in such deadly hatred. I will go to Clementia, who expects me, and with her I will determine on the course of my future life. * * * * * 22 APOLONIUS AND SILLA Act IV. — Enter Piero and Stragualcia. Piero. You ought to have fifty bastinadoes, to teach you to keep him company when he goes out, and not to get drunk and sleep as you have done, and let him go about alone. Stragualcia. And you ought to be loaded with birch and broom, sulphur, pitch, and gunpowder, and set on fire to teach you not to be what you are. P'ie}-o. Sot, sot ! Sti-dg. Pedant, pedant ! Plcro. Let me find your master. Strag. Let me find his father. Piero. What can you say of me to his father ? Strag. And what can you say of me ? Piero. That you are a knave, a rogue, a rascal, a sluggard, a coward, a drunkard. That's what I can say. Strag. And I can say that you are a thief, a gambler, a slanderer, a cheat, a sharper, a boaster, a blockhead, an impostor, an ignoramus, a traitor, a profligate. That's what I can say. Piero. Wei!, we are both known. Strag. True. Piero. No more words. I will not place myself on a footing with you. Strag. Oh, to be sure ; you have all the nobility of the Marcmma. I am better born than you. What are you but the son of a muleteer ? This upstart, because he can say ctijus mascuHni, thinks he may set his foot on every man's neck. THE ITALIAN PLAYS 23 Piero. Naked and poor goest thou, Philosophy. To what have poor letters come ! — Into the mouth of an ass. Strag. You'll be the ass presently. I'll lay a load of wood on your shoulders. Piero. For the sake of your own shoulders, let me alone, base groom, poltroon, arch-poltroon. Strag. Pedant, pedant, arch-pedant ! What can be said worse than pedant ? Can there be a viler, baser, more rubbishy race ? They go about pulfed up like bladders because they are called Messer This, Maestro That. Piero. You speak like what you are. Either you shall leave this service, or I will. Strag. Who would have you in his house or at his table, except my young master, who is better than bread ? Piero. Many would be glad of me. No more words. Go to the hotel, take care of your master's property. By and by we'll have a reckoning. Strag. Yes, we will indeed have a reckoning, and you shall pay it. Piero. Fruella told me Fabrizio was gone toward the Piazza. I will follow him. [^Exit. Strag. If I did not now and then make head against this fellow, there would be no living with him. He has no more courage than a rabbit. When I brave him, he is soon silenced ; if I were once to knock under to him, he would lead me the life of a galley-slave. [^Exit. ***** 24 APOLONIUS AND SILLA Before leaving G/' Inganna/i, we have to relate the cir- cumstances of its discovery, which, moreover, will bring to our notice other Italian plays in our list of authorities. In the Diary of John Manningham, first published by Collier in 1831, we find the following entry : — ' ' Feir. I 60 1 . " Feb. 2. — At our feast wee had a play called ' Twelue Night, or What you Will,' much like the Commedy of Errores, or Menechmi in Plautus, but most like and neere to that in Italian called Inganni. A good practise in it to make the steward beleeue his Lady widdowe was in loue with him, by counterfayting a lettrc as from his Lady in generall termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparraille, etc., and then when he came to practise making him beleeue they tooke him to be mad." Hunter, who identified the author of this Diary, was led by its mention of Ingantii to a search among Italian plays, which was rewarded by the discovery of G/' Ingannati. As to the Inganni [i.e. the Deceits, Mistakes, Cheats, etc.) of Manningham, our list gives three plays with that title ; they all bear resemblances to G/' Ingannati, but their relation to Twelfth Night is not so well established. From the first of them, however — that by Secchi, i 547 — it is well to quote a passage which compares with Tzvelfth Night, II. iv. 23-31 :— THE ITALIAN PLAYS 25 " Gosianzo (in reply to Ruberto, /. e. Ginevra, who pre- tends that some young girl is in love with her). Where is she I Ruberto. Near you. Gost. How shall I get to her ? Rub. As you could come to me. Gost. How do you know that she loves me ? Rub. Because she often talks to me of her love. Gost. Do I know her I Rub. As well as you know me. Gost. Is she young ? Rub. Of my age. Gost. And loves me ? Rub. Adores you. Gost. Have I ever seen her ? Rub. As often as you have seen me." Beyond this we have but to notice that there is in the play a servant with the name of Straccia, which, in the remotest manner possible, so Collier thought, may have some connection with the "Lady of the Strachy." {Tw. N., II. v. 45.) Of the second In^anni^ by Gonzaga, 1592, we may mention that the name assumed by the lady in disguise is Cesare ; likely enough this caught Shakespeare's attention, and gave him the Cesarlo of his play ; and it is a remarkable coincidence that Hunter found Gonzaga's Inganni of 1592 and GV Ingannat'i of 1585 bound up in a volume with three other Italian plays, in one of which, // Viluppo, di M. G. Parabosco, 1547, Orsino innamorato appears among the 26 APOLONIUS AND SILLA dramatis persons. 'J'o the best of my memory I looked into a similar volume in the Library of the British Museum some years ago, but lately I have been unable to find it. The third Inganniy that by Cornaccini, must be regarded as too late for Tivelfth Night. Mr. Hewlett, I may add, is of opinion that Manningham (p. 24) used the word Inganni generically, as representing a class of play. I will close this chapter by quoting a remark of Mr. Moore- Smith {^Laelia, pp. xxvii-viii) on the use Shakespeare seems to have made of his authorities, especially GV Ingannati and its reproductions. He says, " We may imagine that he had been long acquainted with Riche'stale, but that the impulse to dcamatize came only after he had heard of the performance o{ LMel'ia at Cambridge in 1595."^ Himself the friend ot Southampton, who was the friend of Essex, he may easily have heard of the impression made by our play with its poignant situations on some of the noble spectators. He would see its resemblance to Apolonius and Silla in outline, but he would borrow a copy of Gil Ingannati or Les Ahuse-z,, another of GV Inganni, perhaps even a manuscript of Laelia, and draw some points from these to supplement what he found in Riche. In these plays he would at least find passionate scenes treated with a truth and power such as Riche was not master of, and perhaps most of all in Laelta. ^ Mr. Fleay conjectured that Shakespeare made his first draft of Tiv. N. in 1595 {^Inlrod, to Shahp. Study, 1 877, p. 25). Later he suggested 1593. CHAPTER IV BANDELLO AND BELLEFOREST (a) Bandello. Perhaps equal in importance with GV Ingannati as one of the sources of Tivelfth Night is the thirty-sixth story of the second part of Bandello's collection. ^ To this Mrs. Charlotte Lennox {^Shakspear Illustrated, London, 1753) first drew attention. The argument of the Novella is as follows : "Nicuola, being in love with Lattanzio, goes to serve him dressed as a page, and after many chances marries him ; and what happened to a brother of hers." The story closely fol- lows Gl' Ingannati; Paolo and Nicuola in Bandello correspond to Fabrizio and Lelia in G/' Ingannat'i, and Lattanzio to Flaminio and Catelia to Isabella. Moreover, the old Gherardo Foiani reappears as Gerardo Lanzetti. The phrasal correspondences between Bandello and Tivelfth Night are more numerous than those between Shakespeare's play and GF Ingannati ; and I may here anticipate by pointing out that many of the former are repeated in Belleforest, the eighth authority in the list. Perhaps the most famous passage in Tivelfth Night — 1 La Seconda Parte / de le Novelle del Bandello/. In Lucca / MDLIIII. 28 APOLONIUS AND SILLA " She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek,'' etc. II. iv. 111-13 — may find its suggestion in Bandello's " I'amoroso verme veracemente con grandissimo cordoglio le lodena il core " ("the worm of amorous wistfulness still knawed at her heart and fretted it") ; and there are further resemblances in the immediate context. Again, " Parendolc che fuori da i suoi bcgli occhi vscisse una inusitata dolcezza " may be compared with " Methinks 1 feel this youth's perfections With an invisible and subtle stealth To creep in at mine eyes." Tivdftli Night, I. V. 315-7. This reappears in Belleforcst as '* Catelle humant de plus en plus le venin d'amour par les yeux, luy sembloit que Roniule deuint de fois a autre plus beau." Again, the obscure line in Twelfth Night (III. i. 123) — " After the last enchantment yuu did here," — has light cast upon it by Catella's remark to the page, " I know not what thou hast done to me ; methinketh thou must have bewitched me." "Madam," replied he, "you mock me ; I have done nothing to you, and am neither a wizard nor sorcerer." In Belleforest it is thus rendered : " Je ne s^ay, mon amy, cju'est-ce que tu as fait en mon endroit, mais i'estime que tu m'as enchantee. Jc ne suis sacrilege ny BANDELLO AND BELLEFOREST 29 chaimeur dit Romu'.e . . . ne pouvant plus couurir le feu cach^ en son ame." A still closer parallel with Shakespeare may be found in Nicuola's reflection, " Who knoweth but this fair damsel yet loveth and liveth in sore affliction for your sake ? More by token that I have many a time heard say that girls, in their first loves, love far more tenderly and with much greater fervour than do men. My heart fore- bodeth me this hapless lass must needs languish for you, and live a life of anguish and misery." One or two points of difference in the story as told by Bandello and by Shakespeare may now be examined. It is to something more than to Shakespeare's credit that from Romeo and Juliet to The Tempesty with hardly a single exception, he refines upon what is coarse in his authorities, brings good taste to bear on bad taste, adds interest, verisimilitude, and beauty. Indeed, I know no greater contrast in literature ^ than that between the women of modern fiction (and too often of modern poetry) and the women of Shakespeare. And although his ideal of love and purity in man and woman is reserved for his last effort, T/r Tempest, wherein the Speech (and the life) of Ferdinand and Miranda is purged of every taint of Elizabethan coarseness,- the actions, nevertheless, ^ Surely he would scorn our literature of seductive lust and enervating pessimism ; I might add vindictive satire; see p. 90. ^ Even in I. ii. 55-8 and 116-20 [The Tempest) there is neither Elizabethan nor any other coarseness. '1 liese passages are figurative and ideal. To cite them against Miranda's immaculate purity would be absurd. 30 APOLONIUS AND SILLA and the language ot Viola are in noble contrast to those of her predecessors in the story, and mostly also to those of her contemporaries and descendants in other stories. Certainly, as was mentioned above, Bandello improves on GF Ingannati, yet the distance between Bandello and Shakespeare in point of good taste and refinement is discovered by comparing the passage " Romolo after some further talk . . . between himself and CatcUa " (pp. 33, 34) with Ttce/ff'i Night, III. i. 89-169 ; and we may quote elsewhere from Bandello the remark of Nicuola, p. 37, " I warrant me I would have brought Lattanzio so in disfavour with Catella that she had rather chosen a peasant to husband than him; but my father's un- expected coming hath marred all." We may add that the conclusion of the story in Bandello differs considerably from the GF Ingarmati version, which is much nearer to Tzvelfth Night; there is not in Bandello any shutting up of a supposed madman in a dark house, for example, and the denouement is tamer. He agrees, however, with Gl' Inganmiti in presenting tlie master as a former lover of the page, and she of him (see extract, pp. 16, 35). On this head I will quote from the Arden Edition of Tive/fth Night: — " First, he [Mr. Maurice Hewlett] is of opinion that Shakespeare should have followed Bandello (in part) by representing Viola as previously possessed by an undivulged passion for Orsino (Bandello proceeds from a mutual attachment between these two). On this point I may remark that Shakespeare had just used the device in Js Tou Like It., and naturally wished to vary it ; BANDELLO AND BELLEFOREST 31 but another explanation may be found in the fact that under the Tzuelfth Night conditions, Viola is saved from the complications of resentment against Olivia, and gives the artist a free hand. Next, Mr. Hewlett expresses the opinion that the Malvolio plot " usurped the interest , . . and has turned . . . comedy into a tragedy." To this natural objection we may reply that a combination of tragedy with comedy is a leading feature (a merit also) of the Romantic Drama, and one of its chief distinctions from the Classic Drama. Further, as I point out in my Handbook to Shakespeare (pp. 241, 248, 259, etc.), seriousness or tragedy find their gradual way into the three great comedies Much Ado J bout Nothing, As Vou Like It, and Twelfth Night, and thus lead up to the tragic series that begins with Ju/ius Ca-saf\ I may add that, whereas in the Merchant of Venice tragedy was outdazzled by comedy, so in Ttvelfth Night comedy is to some extent subdued, if not shadowed, by tragedy." This notice of Bandello will conclude with a few extracts from the version by .Tohn Payne, London, 1890: — " Catella straightway came down and entering the chamber where Romolo awaited her, no sooner saw him than she thought to behold an angel, so fair and graceful did he appear to her. He did his obeisance to her and began to tell her what he had in charge from his master, while she took an extreme pleasure in hearing him talk and ogled him amorously, dying of desire to kiss him, and her seeming there issued an unwonted sweetness from his fair eyes. 32 APOLONIUS AND SILLA "Romolo addressed himself to bespeak her of Lattanzio's case; but she paid little heed to that which he said to her, being all intent upon his sight and saying in herself that she had never seen so handsome a youth. In fine, she viewed him so amorously, and so deeply did the lad's beauty and grace penetrate into her heart, that unable to restrain herself longer, she threw her arms about his neck and kissing him five or six times ardently on the mouth, said to him, < Seemeth it well to thee to bring me such messages and expose thyself to the risk which thou runnest, an my father find thee here ?' He, seeing her turn a thousand colours, and plainly perceiving that she was enamoured of him, answered her, saying, ' Mistress mine, needs must he who abideth with others and serveth do these and the like offices, according to the will and commandment of his master, and 1 for my part do it very unwillingly ; but he who can command me willing this, needs must I also will it. Where- fore I pray you vouchsafe me an acceptable answer, and have compassion on my master, who loveth you so dear and is so much your servant, so on my return I may gladden him with good news.' On this wise they talked for a time together, what while it seemed to Catella that the page's beauty waxed ever goodlier and greater and bethinking her that needs must she part from him, she felt certain stings at her heart, which pierced her through and through ; wherefore she determined to discover her passion to him and began on this wise to bespeak him, saying, ' I know not what thou hast done to me ; methinketh thou must have bewitched me ! ' * Madam,' replied BANDELLO AND BELLEFOREST 33 he, ' you mock me ; I have done nothing to you and am neither a wizard nor sorcerer ; I am e'en your servant and pray you give me a fair answer, whereby you will keep my master on life and will cause him tender me dearer than he presently doth.' Whereupon quoth Catella, who could hold out no longer and was like to melt for desire, as she kissed the page, ' Harkye, my life and soul of my soul, I know no youth in the world who could have made me do that which I have presently done with thee, but thy beauty and the infinite love which I bear thee, since first I saw thee behind thy master, have moved me to this. I desire thee not to servant, but will e'en have thee (an it mislike thee not) be lord over me what while I live and dispose of me at thy pleasure. I ask not who thou art nor if thou be poor or rich nor of what blood thou art born. My father, Godamercy, is rich enough for thee and for me and so old that he can live little longer ; wherefore do thou look to thyself and let Lattanzio go, for that I, for my part, am never like to love him and shall henceforward leave showing him a good countenance.' Romolo, after some farther talk, him seeming the thing went as he would have it, promised Catella to do what she wished and returned her infinite thanks for her proffers, avouching himself eternally beholden to her, but declaring that it be- hooved to proceed cautiously, so Lattanzio should perceive nothing. Then, having agreed with her of that which was to be said to the latter, he, after many amorous kisses given and received, took his leave. D 34 APOLONIUS AND SILLA " Returning home, he found his master awaiting him impatiently and began by excusing himself for his tardiness, saying that it had been a good while ere he might get speech of Catella and that, whenas he came to speak with her, he had found her in a great fume, as well because she had that day been severely rated by her father for that her love as also because she had heard he was enamoured of another girl. ' I did my utmost endeavour,' said Romolo, ' to oust this conceit from her head, adducing to her a tliousand reasons and argued long with her, but all proved in vain. Lattanzio at this news abode sore dismayed and chagrined and made Romolo repeat to him a good half score times all that had passed between himself and Catella. Moreover, he prayed him take an opportunity of returning to her and assuring her that he loved no other woman in the world than herself, that he was ready to give her all possible proofs thereof, and that, do what she would, he was never like to love another, being resolved to be eternally her most loyal servitor, and Romolo accordingly promised to do all he knew and might to get speech of her. " On the morrow, Catella being at the window, Lattanzio passed through the street and as he drev/ near the house, the damsel with a disdainful gesture retired from the casement and withdrew indoors. This act added new assurance to the story told by Romolo to his master, who returned home, full of chagrin, and fell a-complaining to the page of his ill- hap and sorry fortune ; then, goaded by anger, he went on to BANDELLO AND BELLEFOREST 35 say that Catella was not withal the fairest damsel in the world nor the noblest that she should bear herself so arrogantly and misprise him after such a fashion ; and to this purpose he said many things. Hereupon Romolo began very adroitly to remind his master that these were things which were mostly used to happen, either for despite or through ill tongues or because of unconformity of humours, it being oftentimes seen that a man loveth a woman, who will never incline to love him, whilst another will love him, whom he can no wise bring himself to love. ' Indeed, Romolo,' quoth Lattanzio, ' thou sayest sooth, for some months agone I was beloved of one of the fairest damsels of this city, who was newly come from Rome and who I know loved me with all her heart ; nay, I also loved her very ardently ; but she went I know not whither and abode many days absent ; and in the meantime I chanced to set eyes on this proud baggage of a Catella ; whereupon, leaving the other's love and altogether casting her behind my back and into oblivion, I applied to serve this ingrate. The other damsel, on her return to the city, sent me letters and messages, but I took no heed of aught.' * My lord,' rejoined Romolo, 'you are rightly served and havj gotten the requital you deserved ; for that, an you were beloved as you say of so fair a damsel, you did exceeding ill to leave her for this one, who without knowing it, wreaketh vengeance for the other. We should love those who love us and not ensue those who flee from us. Who knoweth but this f\iir damsel yet loveth you and liveth D 2 36 APOLONIUS AND SILLA in sore affliction for your sake ? More by token that I have many a time heard say that girls, in their first loves, love far more tenderly and with much greater fervour than do men. My heart forebodeth me this hapless lass must needs languish for you, and live a life of anguish and misery.' ' That I know not,' replied Lattanzio, ' I only know that she loved me passing dear and that she is very fair. Catella would seem to thee well-nigh foul in comparison with her ; nay, to tell thee more, it hath many a time occurred to my mind that, wert thou clad as a woman, I could swear thou wast herself, so much meseemeth dost thou favour her in every- thing, and methinketh there is but little difference betwixt thee and her as to age, albeit meseemeth indeed she is a thought taller than thou. But let us return to our talk of yonder trull of a Catella, whom I cannot avail to put out of my head ; nay, I think of her day and night and can turn my mind to no otherwhat. Tell me ; doth thy heart warrant thee to bespeak her and throughly to discover my love to her ? ' 'I will do what I may and know,' replied Romolo, ' nay, were I certain to receive death at her hands, I would return thither.' * * * " Pippa accordingly departed, and ere she went home, she repaired to the nunnery to visit and speak with Sister Camilla, with whom she ordered everything that was need- ful for the safeguarding of Nicuola, in case Ambrogio should go thither, and the sister, who was a past mistress in such crafts, bade her be of good courage, for that all should BANDELLO AND BELLEFOREST 37 go well. She then returned whereas Nicuola, Romolo no more, awaited her with exceeding impatience, to hear how the thing had gone, having already donned her own clothes and tired her head as our girls used to do. Pippa acquainted her with that which she had done, and told her that it was in her discretion if she would go home next day to her father or abide a day or two with her ; whereupon Nicuola concluded to abide another day with her nurse, and did nought but plague her with talk of Lattanzio, showing such a desire to have him to husband that greater might not be. Pippa still exhorted her to turn her thoughts elsewhither, for that she saw plainly she wearied herself in vain, knowing Lattanzio to be so passionately enamoured of Catella that he thought of nothing else, and would in the end have his intent, demanding her of Gerado to wife. ' It is that,' rejoined Nicuola, ' which tormented me, nor do I ever think thereof but I despair. But, had not my father returned so soon, I warrant me I would have brought Lattanzio so in disfavour with Catella that she had rather chosen a peasant to husband than him ; but my father's unexpected coming hath marred all.' * Marred ? ' cried Pippa, ' nay, it hath rather set all right. An that be true which thou tellest me, anent the love which Catella beareth thee, methinketh thine affairs were at an ill pass, inasmuch as had she found out that thou wert a girl, how deemest thou she would have judged of thee ? Would she not forth- with have suspected thy relation to Lattanzio : ' ' That,' S7763 38 APOLONIUS AND SILLA replied Nicuola, ' is the very thing which I would have had happen. Had she e'en discovered me to be a girl, she had not withal known me for Nicuola, daughter of Ambrogio, and Lattanzio had fallen into such ill savour with her that she would never again have brooked the sight of him or the mention of his name ; so that I might have hoped to regain his love.' Pippa could not forbear laugh- ing at Nicuola's reasonings, and said to her, * Daughter mine, set thy heart at rest. An it be ordained of God that Catclla is to be Lattanzio's wife, neither art nor address, no, nor any shift that thou canst devise, will avail to hinder such a marriage. Thou art yet very young, thou art fair, thou art rich, for there can be little doubt that, were Paolo, thy brother, alive, something had by this been heard of him ; but the poor lad must certainly be dead, our Lord God have his soul ! So that, an thou govern thyself sagely, thou wilt abide sole heir to thy father ; wherefore thou wilt not lack for suitors of the noblest and richest young men of the Marches. Put away from thee, therefore, these extravagant fancies, which arc more like to bring thee hurt and vexation than profit or advantage.' " * * -x- * * (b) Belief or est. As Belleforest so often repeats Bandello, it might seem unnecessary to include him among the authorities. But the French story-teller (or liis occasional collaborator Boistuau) BANDELLO AND BELLEFOREST 39 seems to have been consulted by Shakespeare in the preparation of Hamlet, possibly also of Romeo and Juliet and Much Ado about Nothing ; and there is every reason to believe that Shakespeare read the French version of the Viola story. Again we are told, " Conime une fille Romaine se vestant en page seruist long temps vn sien amy, sans estre cogneue . . . auec autres discours," for the French author makes many additions, such as verses and love-letters, though he has shortened the story here and there, omitting speeches and other matter ; but he retains the names of the characters. Volume IV of the Histoires Tragiques of Belleforest was published at Paris in 1570 ; the copy to which I have access is entitled " Le Qiiatriesme Tome des Histoires Tragiques j Turin, I 57 I," and the Tiuelfth Night story is the fifty-ninth. The dedication is dated Paris, May 3rd, 1570, and includes the following remark : — " Je les ay choisies, non seulement du Badel, mais de plusieurs autres, ne trouvant rien plus dans cest autheur, qui fut digne d'une dame si sage," etc., etc. This is interesting, for Barnabe Rich, as we shall see later, follows Belleforest, adding an acknowledgment of his debt to Bandello. As to the question, " Did Shakespeare consult this Belleforest version of the romance ? ", I think he did ; but I have no inclination to assume that he read every possible book in the libraries of his day ; I do believe, however, that he had access to the best of those libraries ; that he got help and hints from literary friends ; that, given a subject, he did not rest till he had ransacked his authorities ; that he did 40 APOLONIUS AND SILLA look into Belleforcst on some occasions, and by whatever means ; and that on this occasion he did not neglect a version of his subject which presented some interesting variations. As an example of passages that may have been underlined by Shakespeare in his perusal (is it treason to think of Shakespeare as a mere mortal who could condescend to underline or make note ?) I might quote " Les apprehensions, tant plus elles sont violentes et soudaincs, tant plustost aussi elles s'en volent, et est etFacee leur trace en la memoire, des que I'on en perd le premier object . . . Et precede cecy d'vne grande imper- fection de jugement au choix de ce qui nous est profittable, et d'une inconstance que le plus souuent accompagne les amoureux, quelque grande parade qu'ils facent de leur loyaute." These extracts may compare with the following in Tivelfth Night : — "O spirit of love! how quick and fresh art thou, Tliat, notwithstanding thy capacity Receiveth as the sea, nought enters there, Of what validity and pitch soe'er, But falls into abatement and low price, Even in a minute : so full of shapes is fancy. That it alone is high fantastical." I. i. 9-15. "Our fancies are more giddy and unfirm, More longing, wavering, sooner lost and worn, Than women's are." II. iv. 33.5. " Our shows are more than will, for still we prove Much in our vows, but little in our love." II. iv. 120-I. Also the following is akin to the former extracts, and BANDELLO AND BELLEFOREST 41 will further serve to show how Belleforest deals with Bandello (p. 29) : — " Et que sgavez vous si ceste fille languist encore pour I'amour de vous, et vist en destresse ? Car i'ay ouy dire que les filles en leurs premieres apprehensions aiment d'vne vehemence tout autre, et plus grande qui ne font les hommes, et que malaisement on estaint ceste flamme ainsi viuement esprise, ayant trouve suiet non occupe en autre chose." I may add that the importance of the betrothal in those days is explained by Belleforest ; also, that at the end of his story he mentions the parallel case, '* de celle grand Royne femme de Mithridate Roy d'Asie, que n'en fasoit pas moins, suyuant son mary sous I'habillement d'vn homme, tant elle I'aimoit." CHAPTER V MINOR SUGGESTIONS No discredit need attach to the words " possible " or "probable," which are frequently used by writers about Shakespeare. If we reject them, we must give up the investigation of his works altogether ; and I doubt whether any department of study is more interesting or more profitable than the study of Shakespeare : I shall therefore make no apology if some of the items brought forward in this chapter seem less important or less probable than others. Of the translations of GF Itigan?iati I have spoken already. It is only possible that Les Abusesy the French version, came to the notice of Shakespeare, but it is more than possible that he read the Latin play which appears to be adapted from Les Abuses. The only known copy of this Latin version, a MS, preserved at the Lambeth Palace Library (No. 838), was examined and described by Mr. G. B. Churchill, who based it on G/' Ingannaii {^Sh. Jahrbuchy 1898, xxxiv Die laieinischen Univers'ttats — Dramen EnglancJs hi der Ze'it der Knn'ig'in EH%abeth). Recently it has been edited by Professor Moore-Smith (Cambridge Press, 1910), who gives us a suggestive note on its relation to GP Ingannate and Les 42 MINOR SUGGESTIONS 43 Abuses. He shows that the author (or authors) followed the French and not the Italian. He writes (pp. xxvi-vii) : — " More striking is the correspondence, which can hardly bo accidental, between the sight-seeing in Laliii, III. i. 47-86 (and similar passages in Gl' Jngannati and Les Ahuse%) and Tw. A''., Ill, 3. 19-24. We may note, too, the mention of the inn (Tw. N., III. 3. 39, etc.), compared with I.aTui, III. 2. Sebastian's meeting with Olivia's clown (IV. i. 1-18) much resembles that of Fabritius with Pacquctta [Lalla, III. 5), to which there is nothing corresponding in Riche's tale. The expression ' a pang of heart ' in Tw. A''., II. 4. 93 recalls Laelia's cordolium ^ (II. 6. 66). The Apologue (Tw. A''., II. 4. no) recalls the apologue of Clemens [La^l'ui, V. 3. 16-41). Viola's readiness to follow Orsino even to her death (Tw. A^., V. i. 137) recalls Lwlia's 'Manta, non ibis solus' {Lctlia, V. 4. i, for which there is nothing to correspond in GP Ingannati or Lcs Ahusfz.). . . . The scenes in L^/w between Flaminius and Fabius (II. i, II. 6, V. 3, V. 4) seem to me not unworthy of the admira- tion even of Shakespeare." We seem to have another reproduction of GF Ingannati in the Spanish drama Los Enganos or Los Engatlados, the latter being the more correct title. This play of Lope de Rueda, assigned by Mariano Ferrer e Izquierdo to the year 1556, was printed in 1567 in a volume with the general title Las quafro Comed'ias, etc., and further, Las segiirulas dos 1 Cfo curdugllu, p. 28. 44 APOLONIUS AND SILLA Comed'tas del excellete porta^ Impressas en Valencia, . . . ARo 1567; and again, a few pages further on, Comedia llamada de los Enganados, etc., etc. The following account of this Spanish comedy will be found in a pamphlet by D. Emilio Cortarelo y Mori, Madrid, 1901 : — *^ Los Enganados . . . terma que dio origen a Los Menechmos de Plauto, a una novela del Bandello, a la comedia de Shakespeare La noche de Reyes, A la titulada La espanola de Florencia ..." He says further, " y claremente se ve que Rueda tuvo a la vista dicha comedia (G/' Ingannati) y se propuso imitarla." In fact, Los Enganados appears to be little more than an adaptation of Gl' Ingannati, and the dramatis personae are much the same in boih plays. La Espanola de Florencia. — Of this play, which was mentioned in the former paragraph in connection with Los Enganados, I have not succeeded in discovering the date or the author. It appears to have other titles, such as La Burlas Veras, under which it is ascribed by Riva de Neyra to Lopede Vega ; but this is doubted by Chorley, who has discussed the subject in a MS. note in his Catalogue, 1 86 1. The copies I have seen assign the work to Calderon, which would be too late for Ttvelfth Night ; but this author- ship is less probable than the former. The play is also known as El Amor invencionero, and the plot closely resembles that of GF Ingannati, while among the dramatis persons are Cesar, Gerardo, and Ursino [vieio, i.e. an old man). MINOR SUGGESTIONS 45 Like Bandcllo and Belleforest, Giraldi Cinthio was an author to whom Shakespeare seems to have been indebted on more than one occasion. We have here to deal with Novella VIII, Deca Quinta, De Gli Hecatommithi j Di M. Giovan Batthta Gyraldi Cinthio / Parte Prima j Nel Monte Regale / 1565. This version of the Tivelfth Night romance is much the same as the others in its outline, but the incidents are varied ; perhaps its chief interest lies in the fact that, like Apolonius and Silla, it begins with a shipwreck. As Cinthio asserts that he wrote all his stories in his youth, we must conclude that he was not indebted to Bandello or Belleforest, but possibly to the earlier GT Ingannatl. CHAPTER VI "THE HISTORIE OF APOLONIUS AND SILLA " Jpolonius and Sllla is the second in a book of eight stories or short novels by Barnaby Rich. The full title of the ^ volume is as follows : — " Riche his Farewell / to Militarie Profession : con / teining \crie pleasaunt discourses / fit for a peaceable tyme. / Gathered together for the onely delight of/ the courteous Gentlewomen bothe / of England and Irelande, / For whose onely pleasure thei were collected together / And unto whom thei are directed and dedicated / by Barnabe Riche, Gentleman. / Imprinted at London by Robert Walley, 1581." This volume was fust published in 1581, and a second »" edition appeared in 1 606. The reprint of Jpolonius and Silla which is given below is based on the two editions above mentioned ; but the differences between them are slight and unimportant. The few difficulties in the text will be considered in an Appendix. I have also thought it advisable to print a portion of the fifth story in Rich's collection, Of Two Brethren and their Wives., for, as was pointed out by Mr. W. A. Neilson 46 HISTORIE OF APOLONIU8 AND SILLA 47 in the Atlantic Monthly for May i, 1902, it bears some resemblance to Twelfth Night, Act IV. sc. ii. By way of comment on this volume of Rich I should first remark that Shakespeare treated his authorities with very varying degrees of respect. When the opulent work of Plutarch lay before him, he did not scruple to transfer whole paragraphs to his own pages ; but he found little to tempt him in Rich ; the material was not good enough ; and only here and there do we come upon matter or expressions that were found worthy of a place in Twelfth Night. Yet I have little doubt that Shakespeare read, not only Apoloniui and Silla, but also the other stories in the volume, and I will establish this point first. In J Midsummer Night's Dream (which contains the greater number of these resemblances) we meet with the somewhat obscure lines (II. ii. 104-5) — " Transparent Helena ! Nature shows her art, That through thy bosom makes me see thy heart," Possibly this is a condensation of the following in Rich : " Being assured of your discretion and wisdom, which Nature hath not only indued you withal, but art hath also accomplished what Nature began to work, I will therefore make no doubt at all to let you know the hidden secrets of my heart . . . and therewithal sound the depth of my desires . . ." Next, from passages not in Apolonius and Silla which are reflected in Twelfth Night, I may select a few examples. 48 APOLONIUS AND SILLA From the first story we might quote " no manner of skill in carpet trade " in connection with the Tzvelftk Night passage (III. iv. 258) "on carpet consideration" ; and the phrase "have the law extended upon" corresponds to "uncivil and unjust extent Against thy peace " in Tzvelfth Night (IV. i. 57-8.) In this story, also, we have "tracing a pavion, or galliarde, uppon the rushes," which takes us to the "galliard" and the " passy-measures pavin " of Twelfth Night. Here also occurs the word coisterell, the coystril of Tzvelfth Night ; it is used again by Rich in his Conclusion, where also we meet with garragascoynes, a fuller form of the gmkins cf Twelfth Night, I. v. 27. Possibly I might add, "then they began to wear crimson, carnation, green and yellow stockings," Finally, I may note that the first paragraph of the last story in Rich's book seems to have suggested the opening passage of Twelfth Night. But turning now to the resemblances in Apolonius and Silla, I may select the example quoted on a former page as illustrating the Twelfth Night line (III. iv. 221-2) — " I have said too much unto a heart of stone, And laid mine honour too unchary oa/." It was Theobald who proposed out for the Fol. reading on't, and his emendation is borne out by the following in Apolonius and Silla : " Didst thou dare to adventure upon me, having thy conscience wounded with so deadly a treason ? Ah, unhappy, and above all other most unhappy, that have so charely preserved mine honour." This passage leads us to HISTORIE OF APOLONIUS AND SILLA 49 prefer the reading out ; and elsewhere we have " fearing to become quite bankrupt of her honour." Some of these parallel expressions may of course be found in other writers ; but when we add the several minor resemblances that remain, they go far to prove that Shakespeare read Apolomus and Stlla, and perhaps made it his starting-point. It must be added, moreover, that one important element in the story of Rich is not represented in the other authorities I have touched upon : this is the shimjirec^ and we may suppose that Shakespeare borrowed the incident from Apolomus and Silla, though there may have ' been other reasons for its appearance in Tivelfth liight. Again, the Ttvelfth Night incidents of II. i.^ 67 resemble the account given by Rich (pp. 66-68) much more closely than anything in Gl' Ingatmati^ Bandello, or La^l'ta ; and the same must be said when we compare Ttvelfth Night, V. i,. 108-67 with Rich, pp. 68, 69, and V. i. 1 19-30 with p. 70, and V. i. 130-66 with pp. 72-6. See also p. 10, footnote. As to the origin of the stories in Rich his Farewell, little can be said with certainty. According to their author (by whom, he says, they were "gathered together"), none of them had appeared in print before, though some had been presented on the stage. Yet again. Rich tells us that three of these stories had been "written likewise for pleasure by Maister L. B." (possibly a slip for M. B., i.e. Matteo Bandello). Again, in our story we read, "I will here for brevity's sake omit to make repetition of the long E 50 APOLONIUS AND SILLA and dolorous discourse recorded by Silla for this sudden departure of her Apolonius," which, as Furness remiirks, points to Belleforest as the source, for only in this writer is the long and dolorous discourse to be found. Moreover, as in Belleforest, the lady whom Rich names Julina is a widow. ^ Rich, as we have seen, changes the names of all the characters in his story, and this docs not appear to be the only occasion on which he has made such a change when copying or adapting some drama or novel ; possibly he wished to secure for himself whatever credit of originality he could. Altogether, we are unable to take the author quite seriously when he speaks of his own work ; and as to this story of /Ipolomus and Silla, we may say with some confidence that Rich borrowed it from Bandello and Belleforest ; possibly also from some drama on the subject of Tiuelfth Night which is now lost to us. I will close my Introduction with a few particulars ot Rich as man and writer. The title " Riche his Farewell to Militarie Profession " is misleading, for the author returned eventually to his trade as a soldier. The brief facts of his life are as follow : — Barnabe Riche (otherwise Barnaby Rich) was born about the year 154O, and he died in or about the year 1620 ; but 1 Olivia (= Julina) in Ticelfih Night mourns her brother, but according; to Manningham's account dated 1602 (see p. 24) Olivia was a widow. We must agree with Collier that Shakespeare may have revised his play in this particular ; all evidence is in favour of the conjecture ; and we may thus account for other apparent changes. See ArJen Ed. of Tivetfih Nig/it, pp. xxi and xxii. HISTORIE OF APOLONIUS AND SILL A 51 neitlicr the date of his birth nor of his deitth can he exactly determined. In his books he styles himself "gentleman" ; and he seems to have been well connected. A soldier by profession, he nevertheless for some fifty years devoted his leisure to literature : and he found a patron in Sir Christopher Hatton ; later, he sought the patronage of Prince Henry. As soldier, his career was long and varied ; he rose to be captain, and in 1616 he was presented with ^100 in con- sideration of his being the oldest captain in the kingdom. At one time also he was in receipt of two and sixpence a day from the Irish establishment, and he frequently describes himselt as a Crown "servant." As man of letters, he was self-taught ; he knew French and Italian, but not the classics, and he could hardly be called a learned man. Yet his literary output was considerable ; it was his boast, indeed, that he was the author of thirty-six works. Of these only one other need be mentioned here, his Honesty of This J ge, which was reprinted for the Percy Society by Mr. Cunningham, who contributes a valuable Introduction. As a writer. Rich commended himself to a considerable section of readers, but what I have read of his work does not seem to be of a very high order. In prose, for the most > part, he follows the lead of Lyly, but in spite of a certain ^ tale-telling faculty his workmanship has no striking merit ; and his verse is still less conimendable. My friend Dr. GoUancz has kindly contributed an interesting account of his theory of the original of the character of Malvolio (see Appendix IT). E 2 OF APOLONIUS AND SILLA THE ARGUMENT OF THE SECOND HISTOXY Apohn'ius Duke, having spent a year's service in the wars against the "Turks, returninghomeivard ivith his company by sea, was driven by force of weather to the Isle of Cyprus, zvhere he was well received by Pontus, governor of the same Isle ; zvith whom Silla, daughter to Pontus, fell so strangely in love, that after Apolonius was departed to Constantinople, Silla, zvith one man, follczved, and coming to Constantinople, she served Apolonius in the habit of a man, and after many pretty accidents falling out, she was known to Apolonius, zvho, in requital of her love, married her. There is no child that is born into this wretched world, but before it doth suck the mother's milk, it taketh first a sup of the cup of error, which maketh us, when we come to riper years, not only to enter into actions of injury, but many times to stray from that is right and reason ; but in all other things, wherein we show ourselves to be most drunken with this poisoned cup, it is in our actions of love ; for the lover ' is so estranged from that is right, and wandercth so wide; from the bounds of reason, that he is not able to deem white from black, good from bad, virtue from vice ; but only led by the appetite of his own affections, and grounding them on the foolishness of his own fancies, will so settle his liking on suchi 52 APOLONIUS AND SILLA 53 I a one, as either by desert or unworthiness will merit rather I to be loathed than loved. I If a question might be asked, what is the ground in deed of reasonable love, whereby the knot is knit of true and perfect friendship, I think those that be wise would answer — desert : that is, where the party beloved doth requite us with the like ; for otherwise, if the bare show of beauty, or the comeliness of personage might be sufficient to confirm us in our love, those that be accustomed to go to fairs and markets might some- times fall in love with twenty in a day : desert must then be (offeree) the ground of reasonable love; for to love them that hate us, to follow them that fly from us, to fawn on them that frown on us, to curry favour with them that disdain us, to be glad to please them that care not how they offend us, who will not confess this to be an erroneous love, neither grounded upon wit nor reason? Wherefore, right courteous \ gentlewomen, if it please you with patience to peruse this his- ' tory following, you shall see DameJError so play her part with a i leash of lovers, a male and two females, as shall work a wonder/ to your wise judgement, in noting the effect of their amorous i devices, and conclusions of their actions : the first neglecting , the love of a noble dame, young, beautiful, and fair, who only for his goodwill played the part of a serving man, contented to abide any manner of pain only to behold him : he again setting his love of a dame, that despising him (being a noble Duke) gave herself to a serving man (as she had thought) ; but it otherwise fell out, as the substance of this tale shall 54 APOLONIUS AND SILLA better describe. And because I have been something tedious in my first discourse, offending your patient ears with the hearing of a circumstance over long, from henceforth, that which I mind to write shall be done with such celerity, as the matter that I pretend to pen may in any wise permit me, and thus followeth the history. APOLONIUS AND SILLA During the time that the famous city of Constantinople remained in the hands of the Christians, amongst many other noble men that kept their abiding in that flourishing city, there was one whose name was Apolonius, a worthy duke, who being but a very young man, and even then new come to his possessions, which were very great, levied a mighty band of men at his own proper charges, v/ith whom he served against the Turk during the space of one whole year, in which time, although it were very short, this young duke so behaved himself, as well by prowess and valiance showed with his own hands, as otherwise by his wisdom and liberality used towards his soldiers, that all the world was filled with the fame of this noble duke. When he had thus spent one year's service, he caused his trumpet to sound a retreat, and gathering his company together, and embark- ing themselves, he set sail, holding his course towards [ Constantinople : but, being upon the sea, by the extremity of a tempest which suddenly fell, his fleet was severed, some one way, and some another ; but he himself recovered the Isle of Cyp rus, where he was worthily received by Fontus^ I duke and governor of the same isle, with whom he lodged J while his ships were new repairing. This Pontus that was lord and governor of this famous isle was an ancientjiuke, and hajij:vy:a_children, a son and 55 56 APOLONIUS AND SILLA ^ daughter ; his son was named ^Silviq , of whom hereafter we shall have further occasion to speak, but at this instant he was in the parts o( Africa, serving in the wars. The daughter her name was^^illa^^ whose beauty was so peerless that she had the sovereignty amongst all other dames, as well for her beauty as for the nobleness of her birth. This Silla, having heard of the worthiness of Apolo- nius, this young duke, who besides his beauty and good graces, had a certain natural allurement, that being now in his company in her father's court, she was so strangely attached with the love of Apolonius, that there was nothing might content her but his presence and sweet sight ; and although she saw no manner of hope to attain to that she most desired, knowing Apolonius to be but a guest, and ready to take the benefit of the next wind, and to depart into a strange country, whereby she was bereaved of ally possibility ever to see him again, and therefore strived with \ herself to leave her fondness, but all in vain ; it would not be, but, like the fowl which is once limed, the more she striveth, the faster she tieth herself. So Silla was now constrained perforce her will to yield to love, wherefore from time to time she used so great familiarity with him, as her honour might well permit, and fed him with such amorous baits as the modesty of a maid could reasonably afford ; which when she perceived did take but small effect, feeling herself outraged with the extremity of her passion, by the only countenance that she bestowed upon Apolonius, APOLONIUS AND SILLA 57 it might have been well perceived that the very eyes pleaded unto him for pity and remorse. But Apolonius, coming butj lately from out the field from the chasing of his enemies, and his fury not yet thoroughly dissolved, nor purged from his stomach, gave no regard to those amorous enticements,] which, by reason of his youth, he had not been acquainted] withal. But his mind ran more to hear his pilots bring news of a merry wind, to serve his turn to Constantinople, which in the end came very prosperously : and giving Duke Pontus hearty thanks for his great entertainment, taking his leave of himself, and the lady Silla his daughter, departed with his company, and with a happy gale arrived at his desired port. Gentlewomen, according to my promise, I will here, for brevity's sake, omit to make repetition of the long and dolorous discourse recorded by Silla for this sudden departure oF~her Apolonius, knowing you to be as tenderly hearted as Silla herself, whereby you may the better conjecture the fury of her fever. But Silla, the further that she saw herself bereaved of all hope, ever any more to see her beloved Apolonius, so much the more contagious were her passions, and made the greater speed to execute that she had premeditated in her mind, which was this : Amongst many servants that did attend upon her, there was one whose name was Pedro, who had a long time waited upon her in her chamber, whereby she was well assured of his fidelity and trust : to that Pedro therefore she bewrayed first the fervency of her 58 APOLONIUS AND SILLA love borne to Apolonius, conjuring him in the name of the Goddess of Love herself, and binding him by the duty that a servant ought to have, that tendereth his mistress' safety and good liking, and desiring him with tears trickling \down her cheeks, that he would give his consent to aid \and assist her, in that she had determined, which was for that she was fully resolved to go to Constantinople, where felie might again take the view of her beloved Apolonius, that he, according to the trust she had reposed in him, would not refuse to give his consent, secretly to convey her from out her father's court according as she would give him direction, and also to make himself partaker of her journey, and to wait upon her, till she had seen the end of her determination. Pedro, perceiving with what vehemency his lady and mistress had made request unto him, albeit he saw many perils and doubts depending in her pretence, notwithstanding gave his consent to be at her disposition, promising her to further her with his best advice, and to be ready to obey whatsoever she would please to command him. The match being thus agreed upon, and all things prepared in a readi- ness for their departure, it happened there was a galley of Constantinople ready to depart, which Pedro understanding, came to the captain, desiring him to have passage for him- self, and for a poor maid that was his sister, which were bound to Constantinople upon certain urgent affairs ; to which request the captain granted, willing him to prepare APOLONIUS AND SILLA 59 aboard with all speed, because the wind served him presently to depart. Pedro now coming to his mistress, and telling her how he had handled the matter with the captain, she liking very well of the device, disguising herself into very simple attire, stole away from out her father's court, and came with Pedro, whom now she called brother, aboard the galley, where all things being in readiness, and the wind serving very well, they launched forth with their oars, and set sail. When they were at the sea, the captain of the galley, taking the view of Silla, perceiving her singular beauty he was better pleased in beholding of her face, than in taking the height either of the sun or stars ; and thinking her by the homeliness of her apparel to be but some simple maiden, calling her into his cabin, he began to break with her after the sea fashion, desiring her to use his own cabin for her better ease : and during the time that she remained at the sea, she should not want a bed ; and then, whispering softly in her ear, he said, that for want of a bedfellow, he himself would supply that room. Silla not being acquainted with any such talk, blushed for shame, but made him no answer at all. My captain, feeling such bickering within himself, the like whereof he had never endured upon the sea, was like to be taken prisoner aboard his own ship, and forced to yield himself captive without any cannon shot ; wherefore, to salve all sores, and thinking it the readiest way to speed, he began to break with Silla in the way of marriage, 6o APOLONIUS AND SILLA telling her how happy a voyage she had made, to fall into the liking of such a one as himself was, who was able to keep and maintain her like a gentlewoman, and for her sake would likewise take her brother into his fellowship, whom he would by some means prefer in such sort, that both of them should have good cause to think themselves thrice happy, she to light of such a husband, and he to light of such a brother. But Silla, nothing pleased with these preferments, desired him to cease his talk, for that she did think herself indeed to be too unworthy such a one as he was, neither was she minded yet to marry, and therefore desired him to fix his fancy upon some that were better worthy than herself was, and that could better like of his courtesy than she could do. The captain, seeing himself thus refused, being in a great chafe, he said as followeth : — " Then, seeing you make so little account of my courtesy proffered to one that is so far unworthy of it, from hence- forth I will use the office of my authority ; you shall know that I am the captain of this ship, and have power to command and dispose of things at my pleasure ; and seeing you have so Wornfully rejected me to be your loyal husband, I will now /take you by force, and use you at my will, and so long as it shall please me, will keep you for mine own store ; there shall be no man able to defend you, nor yet to persuade me from that I have determined." Silla, with these words being struck into a great fear, did think it now too late to rue her rash attempt, determined rather to die with her own hands. APOLONIUS AND SILLA 6i than to f uffer herself to be abused in such sort ; therefore she most humbly desired the captain so much as he could to save her credit, and seeing that she must needs be at his will and disposition, that for that present he would depart, and suffer her till night, when in the dark he might take his pleasure, without any manner of suspicion to the residue of his company. The captain, thinking now the goal to be more than half won, was contented so far to satisfy her request, and departed out, leaving her alone in his cabin. Silia, being alone by herself, drew out her knife, ready to strike herself to the heart, and, falling upon her knees, desired God to receive her soul, as an acceptable sacrifice for her follies, which she had so wilfully committed, craving pardon for her sins ; and so forth continuing a long and pitiful i reconciliation to God, in the midst whereof there suddenly I fell a wonderful storm, the terror whereof was such, that ) there was no man but did think the seas would presently have swallowed them ; the billows so suddenly arose with the rage of the wind, that they were all glad to fall to heaving out of water, for otherwise their feeble galley had never been able to have brooked the seas. This storm continued all that day and the next night, and they being driven to put romer before the wind to keep the galley ahead the billow, were driven upon the main shore, where the galley brake all to pieces ; there was every man providing to save his own life ; some gat upon hatches, boards, and casks, and were driven with the waves to and fro ; but the greatest number 1 1 •J 62 APOLONIUS AND SILLA were drowned, amongst the which Pedro was one ; but Silla herself being in the cabin, as you have heard, took hold of a chest that was the captain's, the which, by the only providence of God, brought her safe to the shore ; the which when she had recovered, not knowing what was become of Pedro her man, she deemed that both he and all the rest had been drowned, for that she saw nobody upon the shore but herself; wherefore, when she had a while made great lamentations, complaining her mishaps, she began in the end to comfort herself with the hope that she had to see her Apolonius, and found such means that she brake open the chest that brought her to land, wherein she found good store of coin, and sundry suits of apparel that were the captain's. And now, Fo prevent a number of injuries that might be proffered to a woman that was left in her case, she determined to leave her lown apparel, and to sort herself into some of those suits, [that, being taken for a man, she might pass through the Icountry in the better safety ; and as she changed her apparel, she thought it likewise convenient to change her name ; wherefore, not readily happening of any other, she called herself Silvio, by the name of her ov/n brother, whom you have heard spoken of before. ' In this manner she travelled to Constantinople, where she inquired out the palace of the Duke Apolonius ; and thinking herself now to be both fit and able to play the serving man, 'she presented herself to the duke, craving his service. The duke, very willing to give succour unto strangers, perceiving APOLONILJS AND SILLA 63 him to be a proper smug young man, gave him entertainment. Silla thought herself now more than satisfied for all the casualties that had happened unto her in her journey, that she might at her pleasure take but the view of the Duke Ap'jlonius, and above the rest of his servants was very diligent and attendant upon him ; the which the duke p?rcciving, began likewise to grow into good liking with the diligence of his man, and therefore made him one of his chamber ; who but Silvio then was most near about him, in helping of him to make him ready in a morning in the setting of his ruffs, in the keeping of his chamber ? Silvio pleased his master so well, that above all the rest of his servants about him, he had the greatest credit, and the duke put him most in trust. At this very instant, there was remaining in the city a noble Dame, a widow, whose husband was but lately deceased, one of the noblest men that were in the parts of Grascia, who left his lady and wife large possessions and great / livings. This lady's name was called ,Julina^ who besides the abundance of her wealth, and the greatness of her revenues, had likewise the sovereignty of all the dames of Constantinople for her beauty. To this lady Julina, Apolo- nius became an earnest suitor ; and according to the manner of wooers, besides fair words, sorrowful sighs, and piteous countenances, there must be sending of loving letters, chains, bracelets, brooches, rings, tablets, gems, jewels, and presents, I know not what : so my duke, who in the time that he remained in the Isle of Cyprus had no skill at all in the art 64 APOLONIUS AND SILLA of love, although it were more than half proffered unto him, was now become a scholar in love's school, and had already learned his first lesson ; that is, to speak pitifully, to look ruthfully, to promise largely, to serve diligently, and to please carefully : now he was learning his second lesson, that is, to reward liberally, to give bountifully, to present willingly, and to write lovingly. Thus Apolonius was so busied in his new study, that I warrant you there was no man that could challenge him for playing the truant, he followed his profession with so good a will : and who must be the messenger to carry the tokens and love letters to the lady Julina, but Silvio his man ; in him the duke reposed his only confidence, to go between him and his lady. Now, gentlewomen, do you think there could have been a greater torment devised wherewith to afflict the heart of Silla, than herself to be made the instrument to work her own mishap, and to play the attorney in a cause that made so much against herself. But Silla, altogether desirous to please her master, cared nothing at all to offend herself, followed his business with so good a will as if it had been in her own preferment. Julina, now having many times taken the gaze of this young youth Silvio, perceiving him to be of such excellent perfect grace, was so entangled with the often sight of this sweet temptation, that she fell into as great a liking with 'the man as the master was with herself; and on a time, Silvio being sent from his master with a message to the lady APOLONIUS AND SILLA 65 Julina, as he began very earnestly to solicit in his master's behalf, Julina, interrupting him in his tale, said : " Silvio, it is enough that you have said for your master ; from hence- ) There is little in the story of Apoloiihts and Silla that calls for explanation or annotation. The expression (p. 6i) " They being driven to put romer before the wind," which occurs again in the First Story ("was forced, by the extremity of a contrary wind, to put themselves romer for the safety of their lives"), means "to tack with the wind," or "let the vessel run more before the wind"; we have the opposite in " Emilia, standing stiff to her tackling " (Rich's story of Phylotus and Emilia^. Attached (p. 56) means seized. Mediation (p. 71) appears in the original as meditation ; also he showed (p. 71) was in the original text and shoived. Leasings (pp. 73, 78) mem^ falsehood. With charely (page 79), which means "with great care and frugality," we may compare " whom he very charely kept ' ' in Phylotus and Emilia. If for any reason I have retained an archaic form, it will be such as presents no difficulty to the reader. Note to Page 8. " I don't know how old is this particular romantic device, nor can remember having found it in anything earlier than Boccaccio. There is something not uniiive it in one of Lucian's Dialogues, and it probably is like most notions, of Greek invention." He-wldt, who thinks that Bandello and Gt' Inganmiti are indebted to the same unknown original. 94 APPENDIX II DR. GOLLANCZ ON " MALVOLIO " " The name Malvolio is evidently a punning on the name Willoughby. Ambrose Willoughby, a member of the family of Lord Willoughby of Parham, was Queen Elizabeth's chief server, one of the most important offices of the household. A scandalous quarrel took place between him and the Earl of Southampton in January i 598, as may be seen from the Sydney Papers, where there is a letter from Roland White noting some unkindness ' between 3000 ( = Southampton) and his mistress, occasioned by some report of Mr. Ambrose Willoughby.' " 'The quarrel of my Lord Southampton to Ambrose Willoughby,' he wrote on January 21, 'grew upon this : that he with Sir \^'alter Raleigh and Mr. Parker being at primero in the Presence Cliam- ber ; the Queen was gone to bed, and he being there as Squire for the Body, desired them to give over. Soon after he spoke to them again, that if they would not leave he would call in the guard to pull down the board, which, Sir Walter Raleigh seeing, put up his money and went his ways. But my Lord Southampton took ck- eeptions at him, and told him he would remember it ; and so finding him between the Tennis Court wall and the garden shook him, and Willoughby pulled out some of his locks. The Queen gave Willoughby thanks for what he did in his Presence, and told him he had done better if he had sent him to the Porter's Lodge to see who durst have fetched him out.' "The play was evidently written for Christmas 1598, or rather for Twelfth Night i 599. There can be little doubt that the incidents here referred to were cleverly utilized by Shakespeare, and that Willoughby was probably well hit off and easily identified ; as, for example : — 95 96 APOLONIUS AND SILLA " ' My masters, are you mad 'i or what are you ? Have you no wit, manners, nor honesty, but to gabble like tinkers at this time of night ? Do ye make an alehouse of my lady's house, that ye squeak out your cosiers' catches without any mitigation or remorse of voice ? Is there no respect of place, ]iersons, nor time in you ? ' (Tivelfth Night, ii. 4.) " In addition to the identification of Willoughby with Malvolio, the theory is important as helping to fix the date of the writing of the play before (not after) the tragedy of Essex's fall and the imprisonment of Southampton." {^Proceedings of the Brithb Academy, Vol. I.) Richard Clay &^ Sons, Limited, London and Bungay. 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