v^i SI i W «r%. ;V M^ ) % '^Ijjj i/?^V. -m/^ W'i^f /.^"^- :!^P/^ ai:Si=se^gbSi,si^ j^^f'-'tfrlf-'iBinlfii^n^ifTli^W-li'-^-^W-'W-V^^ ENGLISH LIBRARY UNIVERSITY OF CALIFORNIA. > -- ■, V '^'^ ^ J j3 O J> •^S. '-, ^- -^ > 5 '6 >> 5^^ S^^ - %i^ .- • -^ -~? :>:> "■^ ->:> 3 /:>:> ^ ^ > -:> > :> y^ > > 3 yj> ■ S s > .~ >-3 :>2> ::>x> ■ ■■ i>' > > g » 1> - ^ "^^^ i >S > > -> > o --V, -5-:: ^ > :> :> ::.' ^ ■>:^ ^;^^^*.«--^ {^ CARLISLE, j tJRITISH JJRAMATISTS (, 1 ne w orKS oi incj, c original editions, including the best play j.' Marlowe, Beaumont and Fletcher, Phihp M biographies, and a historical introduction, ' lecten Trom 'StO Drawn by J, rhurst Ingravea Vy^ C "Warren . BBH JT©M^®M, E -I KS F THE i\^ 'v - o U i - CAREFULLY SELECTED FROM THE ORIGINAL EDITIONS WITH BIOGRAPHICAL NOTES &c. &c. THE CEIEBEATED G-LOBE TEEATRE . EBXKB XJRGH WILXjXAM p. KfXMMG THE WORKS OF THE BRITISH DRAMATISTS dnxdxxlhj Sdtdtii from i\ft §^sl Siri&tts, COPIOUS NOTES, BIOGRAPHIES, AND A HISTORICAL INTRODUCTION. : BY JOHN S. KELTIE, F.S.A. Scot., ELITOK OF ' DEFOE's WORKS,' ETC. EDINBURGH: WILLIAM P. N I M M O. 1873- • i®. I^O. CONTENTS. PREFACE, , OEIGIN AXD EARLY HISTORY OF THE BRITISH DRAMA, JOHIT LILLY- BIOGRAPHICAL Notice, . , . . , . . Alexander and Campaspe, ...... GEORGE PEELE— Biographical Notice, ....... The Love of King David and Fair Bethsabe, with the Tp^agedy of Absalon, ........ v/rOBERT Greene- Biographical Notice, ....... The Honourable History of Friar Bacon and Friar Bungay, . CHRISTOPHER MARLOWE— Biographical Notice, ........ The Troublesome Reign and Lamentable Death of Edward the Second, King of England, ....... ^ The Tragical History OF Dr. Faustus, . . . . . BEN JONSON— Biographical Notice, ....<»... . The Alchemist, ........ - Epic(ene ; OR, The Silent Woman, ...... /Every Man in His Humour, ....... BEAUMONT AND FLETCHER— Biographical Notice, ....... Philaster ; OR, Love lies A-Bleeding, ..... A King and no King, ....... - . The Knight of the Burning Pestle, ..... JOHN Webster- Biographical Notice, ....... The Duchess of Malfi, .••..,. PAOB V 41 42 58 59 76 78 97 100 127 140 142 179 209 237 240 264 291 316 317 ly IV CONTENTS, JOHX MARSTON— Biographical Notice, . , , . . Antonio and Mellida, ....... Antonio's Revenge. The Second Part of the History of Antonio and Mellida, ......... PHILIP MASSINGER— Biographical Notice, ....... The Virgin-Martyr, ........ The Duke of Milan, ........ \/ A New Way to Pay Old Debts, ...... JOHN ford- Biographical Notice, . . . . . The Lady's Trial, ..>...... THOMAS HEYWOOD— Biographical Notice, ....... A Woman Killed with Kindness, ...... JAMES Shirley- Biographical Notice, ....... The Traitor. A Tragedy, ....... The Brothers. A Comedy, »,.,»,/ paqk 346 347 364 386 411 435 460 461 483 484 503 505 528 PREFACE, jEETAIN periods in British history have been marked "by the prevalence of particular forms of literature. The present age, for example, is characterized by the superabundance of prose fiction ; this is the period of the novel. During the early half of last century, the most popular and common form of literature was the short essay, which appeared in shoals in such periodicals as the Spectator and Tatler. It is not difficult to account for the shower of pamphlets which deluged the period comprehended in the greater part of the reign of Charles I. and the time of the Commonwealth ; while the latter half of the sixteenth, and the beginning of the seventeenth century, was em- phatically the period of the drama, during which this form of imaginative literature held supreme and unexampled sway. It would be interesting to inquire into the causes which in each age determine the groove in which its popular literature will run; for although, as in the case of the pamphleteering period, these do not always lie on the surface, still no doubt a close scrutiny would prove that they are always clear and well defined, depending mainly upon the political, social, religious, and commercial state of the country at the time. Why the reigns of Eliza- beth and James should have given birth to so many men of high and prolific genius, and why those men should spontaneously adopt the drama as the form of literature best adapted to afford an outlet for their welling- up thoughts and fancies, we have not the space, even if we had the requisite knowledge and insight, to attempt to discover. We believe it would be found that the drama was the channel most suited to receive the overflowings of the abundant intellectual energy of the age ; although those who adopted it did not cut it out for themselves, but found it ready made to their hands. Indeed, it will be found that a great genius seldom, if ever, creates a new form of literature, into which to throw the products of his intellect ; he generally adopts that which is already popular, and consecrates it to his purpose. During the reign of Elizabeth our country had got fairly over the turmoils and distractions of the Eeformation ; it vi PREFACE. had become 'a land of settled government;' it was a time of great com- mercial prosperity and of comparative peace; an era of unprecedented intellectual and religions freedom had dawned upon men; all the old beliefs had been shaken, and many of them dethroned. The forces which had been so vigorously at work to bring about all this were now unem- ployed ; a new-born spirit of restless, inquisitive, vigorous mental activity was abroad, prying into all things, divine and human, and bound to take some tangible form. All the circumstances of the time being considered, we think no more suitable form could have been found than the drama, peculiarly the literature of action, of restless many-sided human life, by means of which to give utterance to the multitudinous and strange thoughts and fancies engendered of this restless, unrestrainable, abun- dant mental energy. Whatever may have been the causes at work, for about sixty years after 1570, hundreds of dramas, many of them of supreme excellence, laden with deep and striking thoughts as well as rich and exquisite fancies, were produced by a race of authors, of many of the greatest of whom almost all we know is their names; even the biography of the very greatest among them is little else than a series of unsatisfactory conjectures. These dramatists appear to have formed a class by them- selves, mixing little with general society ; but most of them leading a strange kind of wild ' Bohemian ' existence, having no fixed abode, living mostly in taverns and other strange places, and forming themselves into clubs for drinking, smoking, ' quipping,' and contriving plays. Whether this was a consequence or a cause of their being tabooed from respect- able society, we cannot say. What little we know of the lives of most of them is rather saddening : few of them lived long ; most of them were penniless, and generally in debt to the managers ; and many of them died from excessive indulgence in eating, drinking, and other gratifications. Nevertheless, they have left behind them much that men ought not ' will- ingly to let die.' Of the many hundred works produced by these old dramatists, comparatively few have reached our time, although those extant might still be counted by the hundred. Possibly we need not regret the loss, as only the most vigorous may have survived. It is needless for us to show here why those extant works of the Elizabethan dramatists are worthy of attention, and deserving of admiration ; it is long since this has been allowed by all competent critics ; and it is quite customary for all who pretend to any knowledge of English literature, to accord to them, as to other literary masterpieces, as a matter of course, the highest praise, although, we fear, many of those who talk thus do so without knowledge. However, few men perhaps are to be blamed for » the want of a thorough acquaintance with the works of these dramatists, considering the many all -important matters demanding attention in PREFACE. vii the present, the great number of the dramas extant, and to men of moderate means, the comparatively great expense of even the cheapest editions. Many, too, would not care to read through the whole works of any one dramatist, and to most, such a task would be tiresome and profitless ; and therefore to such, as well as to all who desire to know wherein the glory of these old writers consisted, it is hoped the present volume will prove acceptable. The editor, assisted by the criticisms of those writers most competent to judge, has endeavoured to select from the works of the greatest of the Elizabethan dramatists those which display the highest genius, are most characteristic of their authors, and are best fitted for general perusal. With regard to this last point, he has found that the best dramas are generally the freest from impurity, and in the following pages almost nothing has been thought necessary in the way of purgation. As any one who can spare a sixpence can purchase the works of Shakespeare, they have been excluded from the selection. To ensure correctness of text, the best editions — in the case of Ben Jonson, the original quarto — have been used. Prefixed to each selection is a brief biography of the author, which, sad to say, is generally little more than a confession of inability to write a biography for lack of material. Where no good pur- pose was to be served by retaining the antiquated spelling, it has been modernized ; and wherever it was thought necessary to the understand- ing of the text by an ordinary reader, notes have been appended at the foot of the page. The editor has avoided wasting space by indulging in the note critical, or by pointing out to the reader — what he is no doubt able enough to discover for himself — the beauties of an author, and the feelings which it has been generally thought they are fitted to call forth. The notes are purely explanatory ; and where the editor has been unable to throw light on a word or passage, he has seldom attempted a con- jecture which might be misleading. Those notes which are not his own, the editor has always endeavoured to remember to acknowledge, although, no doubt, he has occasionally omitted to do so ; and to the labours of the editors of the various excellent editions of the dramatists he has been indebted for much valuable assistance. It is hoped that these notes will be found conducive to the purpose which this volume is designed to serve, viz. to enable the general reader to form an in- telligent acquaintance with, and appreciation of, the best works of our greatest dramatists. It has been thought appropriate to prefix a short Introduction, giving a brief account of the origin and early history of the British Drama ; and as the book is meant mainly for general readers, the editor has deemed it not out of place to begin by describing what is generally allowed to be viii PREFACE. the origin of the Greek, the parent of the European Drama. The chief purpose of the Introduction, however, is to endeavour to discover the germs from which arose the early British Drama, and to trace its history down to the time when what is known as the ' legitimate drama ' had taken firm root in our literature, i.e. down to about the date of our first specimen from John Lilly. Of course, with the small space which could be allotted to this purpose, the editor has been compelled to restrict him- self to a brief statement of facts ; and many things have been necessarily omitted which are highly interesting in connection with our dramatic history, but which would have been out of place in a book of this kind. All the best and most recent authorities have been consulted to obtain material for the Introduction ; but any one at all acquainted with the subject, knows that any writer on the early history of our Drama must be largely indebted to the invaluable work of Mr. J. P. Collier. In conclusion, both publisher and editor hope that, as a whole, this volume will be found adapted to the purpose for which it is intended. J. S. K. Edineuegh, February 1870. ORIGIN AND EARLY HISTORY OF THE BRITISH DRAM^.,,,,,^^ OETRY, in respect of the form which it may assume, has been divided into three kinds — Epic, Lyric, and Dramatic: the first (from the Greek epos^ a Avord) consisting of the stately narration of heroic actions ; the second (from the root of lyre) setting forth human emotions in such a form as admits of being set to music ; and the last (in Greek signifying * action,' from drao^ to do, to act) is concerned with the representation (as distinct from the narration) of human actions, and exhibits a number of persons, called the dramatis personoe^ or persons of the drama, in continued and animated conversation, — the progress of the story, action, or plot being gathered from their sayings and doings. The two main divisions of the drama are tragedy and comedy ; the former of which Aristotle well defines as the imitation of some action that is serious, entire, and of a proper magnitude, — effecting through pity and terror the refinement of these and similar affections of the soul. Tragedy, in its best form, concerns itself with the deepest, noblest^ most earnest side of man's nature, striving to elicit our strongest sympathy in behalf of others who are vividly represented before us as actually taking part in certain scenes of life which bring upon them sorrow and suffering. Comedy, on the other hand, deals with the ordinary commonplace events of everyday life, and ministers to the amusement of the spectator by exhibiting the ludicrous mistakes and follies of his fellow-men. Tragic poetry has been described as that which interests the mind in the highest degree, and comic poetry as that which engages us in the most complete lawlessness. In comedy, gloom, sadness^, sobriety, have no recognised existence ; while gaiety, joviality, riotous mirth, are unknown in tragedy. Tragedy, consistently with its origin, as will be seen, shows us man, if we may so speak, in the * struggle for existence,' fighting against fate-, striving to hold his ovn\ against unfeeling nature and man's inhumanity ; while comedy exhibits him in a state of unconcern and self-abandonment. If it were left to mere conjecture to account for the origin of the drama, one might very naturally suppose that it took its rise partly from what appears to be an innate propensity in man, as it is certainly a universal practice, to take an interest in and to recount the sayings and doings of others. Even among the cultivated classes of the present day — and far more so is it the case among the uncultivated and uneducated, who are living examples of what all classes at one time were — Avhen two or three are met together, are not the affairs of themselves and their friends almost invariably the staple subject of conversa- ORIGIN AND EARLY HISTORY OF tion ? And if any one with his ears open passes two gossips in conversation, he is almost sure to observe that the one is recounting to the other, in an animated and dramatic manner, some exploit of which he or she is the victorious hero or heroine. In this way, however, the origin of the epic would perhaps be more appropriately accounted for, it being essentially a narrative set forth by one narrator, generally interspersed with fragments of conversation, and resembling the drama in being concerned with the exhibition of a progressive action. The epic, we believe, was the first form of poetry, if not of all literature, and at first was probably nothing more than mere narrative vigorously and picturesquely set forth. The epic in many respects bears a considerable resemblance to, and one would fancy could not fail to suggest, the drama, which, we shall see, was not exactly the case. Theoretically, however, to account for the origin of the latter, in addition to the gossiping or story-telling propensity in man, we have also to take into consideration the earliest developed and perhaps the strongest of all his propensities — that of imitation or mimicry. This propensity is seen in earhest childhood : without it there would be no possibility of educa- tion. Are not the very games of children merely the mimicry of the serious life-business of their elders ? Savages have been described as the children of nature ; and they do resemble children in many respects, especially in the nature of their amusements, which are generally mere imitations or representations of their most serious employments — war and the chase. Among nearly every known people on the face of the globe, from the ultra-civilised and theatre-loving Parisian down to the almost brute-like Australian, is there something to be found corre- sponding to dramatic representation, something imitative of active life. Doubtless in many instances, among savage nations, this takes a very rude form ; but even in its rudest form it is an outcome of the same propensity as the most elaborate pro- duction of the greatest dramatist, — viz. a desire to afford pleasure by representing the realities of active life. In its rudest form it is to be seen in the war-dance of the North American Indians and other savages, which is simply a representa- tion of a battle, and may be regarded as tragedy in its crudest form ; while the comic and love dances of the South Sea Islanders and others exhibit comedy in its earliest stage. Indeed, dancing seems at all times to have been intimately connected with dramatic representation ; and one of the most important parts ot the ancient classic drama, the chorus^ takes its name from this fact. When the Spaniards visited Peru, they found the natives in possession of a drama of a comparatively advanced order. ' The Incas,' says Garcilaso de la Vega, ' repre- sented upon festival days tragedies and comedies in due form, intermingling them with interludes which contained nothing low or grovelling. The subjects of their tragedies were the exploits and victories of their kings and heroes. On the other hand, their comedies were drawn from agriculture and the most com- mon actions of human hfe ; the whole mingled with sentences full of sense and gravity.' The Chinese are kno"svn to have had a drama from a very early period — no doubt of a somewhat grotesque kind, characteristic of the people — which to all appearance must have been of native growth ; and there is no satisfactory proof that the Indians were indebted to the Greeks for the idea of their most elaborate and certainly ancient drama. Indeed, the love of dnimatic represen- tation is as prevalent and as natural to man as religion itself, with which it is very often found in some way connected, and to which the European drama, ancient and modern, owes to a large extent its origin. Notwithstanding this innate propensity to dramatize the facts of human life, it can scarcely be said that to it is to be ascribed the origin of the Greek drama, of which the modern European drama may be regarded as the lineal THE BRITISH DRAMA. xi descendant. The idea of dramatic representation was familiar to the Greeks even before the invention of the drama proper. It was customary among them to represent certain legends connected with the gods in a visible dramatic form. * Thus,' says Ottfried Miiller, the historian of Greek literature, ' Apollo's combat with the dragon, and his consequent' flight and expatriation, were represented by a noble youth of Delphi ; in Samos, the marriage of Zeus (Jupiter) and Hera (Juno) was exhibited at the great festival of the goddess. The Eleusinian Mysteries were (as an ancient writer expresses it) "a mystical drama," in which the history of Demeter and Ceres was acted, like a play, by priests and priestesses. . . . There were also mimic representations in the worship of Bacchus : thus, at the Anthesteria at Athens, the wife of the second archon, who bore the title of Queen, was betrothed to Dionysus in a secret solemnity, and in public processions even the god himself was represented by a man.' But it is to the rites connected with the worship of Bacchus that we must look for the immediate origin of the drama. It was the custom, especially among the Dorians of the Peloponnesus, to celebrate at certain seasons of the year, generally in early spring and in autumn, the worship of Dionysus (popularly identified with the Latin Bacchus), not so much as the god of wine, or the vine, but mainly as the personification of the productive force of nature. This they did at first by singing wild, impassioned songs, known as dithyrambs, generally improvised under the influence of wine, and which were accompanied with sacrifices, orgies, and rites of various kinds. ' But the worship of Bacchus,' says Miiller, ' had one quality which was more than any other calculated to give birth to the drama, and particularly to the tragedy ; namely, the enthusiasm^ which formed an essential part of it. This enthusiasm proceeded from an impassioned sympathy with the events of nature in connection with the course of the seasons ; especially with the struggle which Nature seemed to make in winter, in order that she might break forth in spring with renovated beauty.' About 580 B.C., Arion the lyric poet, we have good authority for believing, improved upon the wild, improvised dithyrambs mentioned above, by inventing what was called the tragic chorus, being a regular choral song sung by a number of people who probably represented the companions of Bacchus, and who danced around the altar, on which a goat was sacrificed. Hence, it is said, the origin of tragedy, which thus means literally the goat-song, from the Greek tragos^ a goat, and ode^ a song : chorus in Greek literally means a dance, or company of dancers. This dithyrambic tragic chorus continued to chant the sorrows and mishaps of Bacchus as the god of nature, in his struggle for life with the adverse powers of winter, — the particular festival at which it was sung being held at the end of winter or in early spring ; hence the meaning which came to be attached to the words tragic and tragedy, for it was from this particular part of the worship of Bacchus that tragedy was developed. The further development of tragedy, according to Miiller, belongs to the Athenians ; while among the Dorians it seems to have been preserved in its original lyric form. Miiller supposes that, even in the above elementary form of tragedy, the leaders of the chorus came forward separately, and narrated the perils which threatened the god, and his final escape from or triumph over them ; the body of the chorus afterwards express- ing its feelings, as if at passing events. The next important innovation in connection with the worship of Bacchus, which indeed marks the birth of the regular tragic drama, according to all ac- counts, was made by Thespis, a native of Attica, about 535 B.C. To give rest to the singers, and relieve the monotony of the long effusions of the chorus, he is said to have come forward, or caused an actor to come forward, probably on a small platform, and recite a legend connected with some god or hero. * Now,' xii ORIGIN AND EARLY HISTORY OF says Muller, * according to the idea which we have formed from the finished drama, one actor appears to be no better than none at all. When, however, it is borne in mind that, according to the constant practice of the ancient drama, one actor played several parts in the same piece (for which the linen masks intro- duced by Thespis must have been of great use) ; and, moreover, that the chorus was combined with the actor, and could maintain a dialogue with him, — it is easy to see how a dramatic action might be introduced, continued, and concluded by the speeches inserted between the choral songs.' It is thought by some authori- ties that these actors might at first be chosen from among the professional rhap- sodists who were in the habit of traversing the country, and reciting the works of Homer and other poets. This they often did wdth characteristic gesticulation, sometimes several together, each representing a different hero, and reciting his speeches in character. Thus was tragedy born, and in a comparatively short time it reached its full development in the works of j^schylus, Sophocles, and Euripides, all nearly contemporary during the fifth century B.C. The first of these made the next important innovation and improvement in the character of the drama, by intro- ducing another actor, — thus giving the dramatic element its due development. * Tragedy, as he received it, was still an infant, though a vigorous one : when it passed from his hands, it had reached a firm and goodly youth.' Sophocles introduced a third actor, and otherwise improved on his predecessor. Euripides invented the prologue, which Muller thinks was a step in the backward direction • and he and his immediate successors made further additions and improvements, tending to render the Greek tragic drama as complete in form as it could well be, consistently with the stringent rules which Greek notions of art imposed upon it. Comedy, like tragedy, had also its origin in the worship of Bacchus, but, according to the best authorities, took its rise in an entirely different way, and in connection with quite another festival. Tragedy, as we have seen, had origi- nated in the winter celebrations of the worship of Bacchus, when the powers of nature were struggling to free themselves from the thralls of griping winter ; and, as in a struggle of life and death, the minds of the people seemed filled with sadness and apprehension, finding utterance in the tragic chorus. Comedy, on the other hand, took its rise in connection with the joyous ingathering of the vintage, the fruit of nature's triumphant efforts, when all was mirth and jollity. The festivals of this joyous period were held in autumn, and by the country people ; comedy thus, unlike tragedy, having a rustic origin. At these joyous country festivals it was the custom of the people, having drunk freely of the gifts of their generous god, to go round in procession from village to village, carrying aloft an image of the phallus, the emblem of nature's productive powers, the chorus singing songs of thanksgiving to the liberal Bacchus. After doing their god due honour, it was the custom of the people to indulge in the wildest and often most licentious revelry ; and the chorus, turning their attention to the spectators, quizzed and satirized them in the most unrestrained manner. It was from this custom, it is said, that the regular comedy took its rise ; its origin being generally ascribed to Susarion, a native of Megara, who had removed to Icaria in Attica, and who, according to one account, was the first to contend with a chorus of Icarians in order to obtain the prize — a basket of figs and a jar of wine. According to another account, quite consistent with the above, Susarion, somewhere between 580-564 B.C., was the first to regulate this amusement, and thus lay the foundation of regular comedy. The name applied by the Greeks to a drunken revel like the above was komos (comus), so that comedy literally means the ' revellers' song.' The THE BRITISH DRAMA. xiii derivation of comedy from Tcome^ a village, because it is said the actors went about from village to village satirizing the follies and vices of the people, rests on no good foundation. We have no such means of marking the gradual rise of comedy to perfection as we have in the case of tragedy. By what means it was gradually developed, can only be inferred, as Muller says, from the drama itself, which still retained much of its original organization, and from the analogy of tragedy. Comedy, however, took much longer than tragedy to attain to the perfection of art, retaining its original form — that of personal satire — till the time of the greatest Greek comedian, Aristophanes (444—380 B.C.). In this form, known as the old comedy^ the characters were real persons, introduced under their own names : most of the comedies of Aristophanes are of this class. This form of the comic drama inevitably became unbearable ; and after passing through the stage of what is known as the middle comedy^ in which real characters were introduced under assumed names, the comic art gradually reached perfection in the new comedy, essentially resembling the modern comic drama, in which the characters are purely fictitious, the only requirements being that they should be true to reality, and conformable to the rules of art. As we are not writing a history of the Greek drama, nor even of the drama in general, but have introduced the above statements only because we deemed it necessary briefly to lay before the reader what is known of the origin of the European drama, we shall not enter into further details on this part of the subject. Suffice it to say, that the great difference in form between the ancient Greek or classic drama, and the modern English or romantic drama, is, that in the former was introduced what is known as the chorus, which, from the supreme part it played originally at the festivals of Bacchus, gradually came to be re- garded as an altogether subordinate part of the main drama. This chorus consisted of a group of persons, in some way connected with the dramatis personce, who, at intervals in the progress of the drama, gave utterance to certain moral reflections suggested by the scenes, or were used by the dramatist as a means of letting the audience know any details that were necessary to the full under- standing of the plot. Even after the regular Greek drama had made consider- able progress, the chorus seems to have continued to chant its part in the play, and, true to its name, enlivened the performance by dancing to its own music. Only one other difference between the classic and modern or romantic drama can we mention here : it is, that the former generally endeavoured to adhere rigidly to what are known as the dramatic unities of time, place, and action. The first of these enacts that, to keep up the illusion, everything represented in the drama should happen on the same day; the second, that, for the same reason, all the actions should take place on the same spot, or very nearly so ; and the third, that there should be only one main action or plot, to which everything else must be subservient. This difference between the Greek and the English drama is not, however, merely formal ; it arises from the very different principles on which ancient Greek and modern English, or rather Gothic, art is based. A writer quoted by Hazlitt says, that the great difference between ancient and modern poetry is, that the one is the poetry of form, the other of effect. ' The one seeks to identify the imitation with the external object — clings to it, is inseparable from it — is either that or nothing ; the other seeks to identify •the original impression with whatever else, within the range of thought or feeling, For Margery's office Avas therein. All things handled there discreetly. For every soul beareth office meetly : Which might be seen to see her sit So basely turning of the spit. The Palmer allows that the Pardoner's hoAV the devils could complain ' that w ' Whereby much marvel to me ensueth, That AVomen in hell such shrews can be, And here so gentle as far as I see. Yet have I seen many a mile. And many a woman in the while. Not one good city, town, nor borough, In Christendom, but I have been thorough For many a spit here hath she turned. And many a good spit hath she burned : And many a spit full lioth hath roasted ; Before the meat could be half roasted, And ere the meal Avere half roasted indeed, I took her then from the spit with speed. But Avhen she saAV this brought to pass, To tell the joy Avherein she Avas ; And of all the devils for joy how they Did roar at her delivery, And hoAV the chains in hell did ring. And hoAv all the souls therein did sing ; And hoAV we Avere brought to the gate, And hoAV Ave took our leave thereat, Be sure lack of time suff'ereth not To rehearse the twenty part of that, Wherefore this tale to conclude briefly, This Avoman thanked me chiefly That she Avas rid of this endless death, And so we departed on NcAvmarket Heath. And if that any man do mind her, Who list to seek her, there shall he find her. ' tale is * all much perilous,' but marvels omen put them to such pain.' And this I Avould ye should understand, I have seen women five hundred thousand. And oft Avith them have long time tarried. Yet in all places where I have been. Of all the Avomen that I have seen, I never saw nor knew in my conscience, Any one woman out of patience. * «o;^ery— savoury. XXXIV ORIGIN AND EARLY HISTORY OF Poticary. By the mass, there is a great lie. Pardoner. I never heard a greater, by oiu- Lady. Pedlar. A greater ! nay, know ye any so great ? Palmer. Sir, whether that I lose or get, For my part judgment shall be prayed. Pardoner. And I desire as he hath said. Poticary. Proceed, and ye shall be obeyed.' The Pedlar then proceeds to give his award, and of course decides in favour of the Palmer, who has thus unwittingly, by the confession of all, told the greatest lie: * Thus I award by way of judgment : Of all the lies ye all have spent, His lie to be most excellent. ' Notwithstanding the rudeness of the language and the coarseness of the fun of this unique play, it is full of humour, sarcasm, liveliness, and vigour of expres- sion, and is, on the whole, not an unworthy harbinger of the regular British comic drama. Besides the two above spoken of, other interludes by Heywood are — A play hehveen John the husband, Tyh his wife, and Sir John the priest ; it is a ' merry play,' resembling in its structure and composition a one -act farce ; The Play of the Weather, written to enforce and illustrate a point of natural philosophy, and under the name of Jupiter, to vindicate Providence in the course and distribution of the seasons. Both these were printed in 1533, but probably written much earlier. The last interlude we shall notice is one of some importance, in so far as it bears the same relation to the serious drama that Heywood's productions do to comedy. It was published about 1530, and bears the following title : * A new comedy in English, in manner of an interlude, right elegant and full of craft of rhetoric, wherein is showed and described, as well the beauty and good properties of women, as their vices and evil conditions, with a moral conclusion and exhortation to virtue. ' The characters are the hero Calisto, the heroine Melibea, Danio her father, Sempronio, a parasite, and a procuress Celestina. The following is Mr. Collier's account of the plot : ' The story is simply this : Calisto, a gay young man, is in love with Melibea, the daughter of Danio, but she dislikes him. By the advice of a parasite, called Sempronio, he engages by gifts old Celestina, who keeps a common brothel, on his side. She endeavours to seduce the heroine into her house to meet Calisto, but failing, pretends that he has a dreadful fit of the toothache, which cannot be cured without the loan of the relic-hallowed girdle of Melibea, aided by the maiden's prayers. Melibea, thus importuned, consents to lend her girdle (which seems to be taken figuratively for a much less innocent concession), and immediately after she has given it, she repents her rashness, confesses her fault to her father, puts up prayers to Heaven for assistance and forgiveness, and the performance ends with a moralization and warning to old and young by Danio. ' There are several other interludes extant, written about the same time as these just mentioned, but we have not space to go further into the subject ; and indeed, considering the aim of this Introduction, more details on this point are unnecessary, as we have said enough to show that early in the sixteenth century English comedy had come into being, though in a sufficiently crude state. It is the writer's fault if the reader has not also been able to understand abarly the influences which were at work about the middle of the sixteenth century, tending to give rise to a kind of serious drama, whose characters would be entirely distinct both from the scriptural and saintly personages of the miracle play and the tiresome abstractions of the morality. Into the latter, as we have seen, were gradually introduced, alongside the abstract impersonations peculiar to the moral, characters taken both from everyday life and from history ; and THE BRITISH DRAMA. xxxv to us it seems that this must have had a considerable share in suggesting the forms of the regular drama, known as Tragedy and History. There may have been other influences at work which we have now no means of ascertaining, and previous to the appearance of the first regular tragedy, there may have existed moral plays much more nearly resembling it in their characters and construc- tion than any now extant. Still, we think that the mixed moral plays which have come down to us, containing, as some of them do, a serious or tragical element, — combined with the interludes and earlier comedies, which in their construction approximate closely to the form of the legitimate drama, — would of themselves be to a great extent suggestive of the earliest form assumed by the regular serious drama. No doubt, however, the greater attention given to the Greek and Koman classics, consequent on the revival of learning, during the fifteenth and beginning of the sixteenth centuries, had its share in giving birth to the last form assumed by the English drama. One of the interludes, Thyestes, took its title from a Homeric hero, and the moral Jack Juggler is founded on a comedy of Plautus. It is also known the Andrea of Terence was not only translated but acted before the middle of the sixteenth century ; and somewhat later a drama appeared having for its title Julius Ccesar. Later still, we learn from Gosson's School of Abuse, published in 1579, there existed dramas bearing such titles as Ccesar and Fompey, The Fabii, Cupid and Psyche, etc. ; and Gosson also informs us that ' comedies in Latin, French, Italian, and Spanish, have been thoroughly ransacked to furnish the playhouses in London.' These statements show that somewhere about the middle of the sixteenth century the attention of British play-writers was attracted not only to the dramatic and other productions of Greece and Rome, but also to the theatrical productions of the continental nations, in some of which the regular drama had begun to flourish. While, then, the British drama of the latter half of the sixteenth century is doubtless the legitimate child of the later moral plays, it appears highly probable that the influences, just mentioned had some- thing to do in helping to give it birth, and in bestowing upon it the character which ultimately marked it. The English drama, it is well known, in reference to subject, is divided into tragedy, comedy, and a species which may partake of the nature of either of these, known as history or chronicle-history. The use of the terms tragedy and comedy was well enough defined both by the Greek and Roman dramatists ; but in the earlier days of the English drama they appear to have been used in- differently to designate any kind of play, and were sometimes also applied to poetical compositions of other kinds. The play of Appius and Virginia is styled by its author a ' tragical comedy ; ' and Bale calls his miracle play, God's Pi-onuses, a tragedy, and his Christ's Temptation a comedy. Before his time, ' tragedy ' was used to signify any serious narrative in verse, and even late in the reign of Elizabeth the term was applied to other besides dramatic productions. Dante, we know, calls his Inferno a commedia. The terms, however, with the rise of the regular drama, began to be generally confined to theatrical productions ; and although we have already attempted to define them, we shall here take the liberty of quoting a paragraph from the work of Mr. Collier, in which he describes the terms with particular reference to their use in the English drama : * By tragedy and comedy, I mean theatrical productions, the characters in which are either drawn from life, or are intended to represent life, whether those characters be actual or imaginary ; the terms include also a species of drama, well known of old in the literature of this country, called " history," or " chronicle-history," which consisted of certain passages, or events detailed by annalists, put into a dramatic form, often without regard to the course in which they happened ; the author sacrificing chronology, situation, and xxxvi ORIGIN AND EARLY HISTORY OF circumstance to the superior object of producing an attractive play. It is the disregard of the trammels of the unities which constitutes our "romantic drama," whether the story be real or fictitious ; and from the earliest period to the time of Shakespeare, there is not a play in our language in which they are strictly observed. The words "romantic drama" have reference to form and construction merely, and do not in any respect relate to senti- ment or language. ' In order to connect this Introduction with the body of the work, we shall conclude by noticing one or two of the earliest extant regular comedies and tragedies. As we shall give specimens of these, our remarks here will be brief. Judging from the remains that have reached our time, comedy had its birth at least ten years before tragedy. The earliest extant regular English comedy, discovered not many years ago, is entitled Ralph Roister Doister; it was certainly in existence in 1551, though probably written some years earlier. Its author was Nicholas Udall, a native of Hampshire, who was born in 1506, matriculated at Corpus Christi College, Oxford, in 1520, and died about 1557, after having been successively Master of Eton and Westminster Schools. He appears to have Avritten other comedies, but this is the only one which has come down to us, and in the prologue the author calls it a comedy or interlude. From this prologue we might infer that the comedies of Plautus and Terence were the models which he endeavoured to imitate. Before the discovery of Udall's play, the palm of precedence in point of time was given to Gammer Gurtorts Needle^ a comedy by Bishop Still, written not much earlier than 1566, and much inferior both in plot, construction, and literary merit to Ralph Roister Doister. The latter is regularly divided into five acts and scenes ; and whereas Still's play depicts the manners of coarse rustic life, the scene of Udall's comedy is in London, and it possesses much interest as representing in no slight degree the manners of more polished society, exhibiting some of the peculiarities of thinking and acting in the metropolis at the period when it was written. The plot is interesting and well conducted, the language on the whole natural and vigorous, the characters marked by considerable individuality. As we shall give as much of this comedy as will enable the reader to judge of its merits for himself, it is unnecessary to notice it more minutely ; it is certainly a great advance on the meagre interlude. It is written in rhyme, but it was not till the time of Marlowe that the stage was fairly freed from this trammel, and even Shakespeare himself sometimes con- cludes his speeches with a jingle. There w^as an interval of ten years before the next regular extant drama made its appearance. Not that during this time no other theatrical productions besides morals made their appearance, — the probability is that there were ; and Mr. Collier thinks that the play we are about to notice was preceded by a tragedy upon Luigi da Porto's famous novel of Romeo and Juliet; and it is known that in 1559 and 1560 respectively, appeared translations of two of Seneca's tragedies. The Troas and Thyestes^ by Jasper Heywood, son of the author of the Interludes. Between 1559 and 1566, other eight translations from the same author appeared by various hands. However, we are speaking only of those dramas that have reached our own time. The earliest extant drama which may be regarded as the harbinger of the regular tragedy, was played before the queen at Whitehall, by the members of the Inner Temple, on the 18th of January 1561, and was first printed in 1565 under the title of The Tragedy of Gorboduc, although in the second edition of 1571 it is entitled The Tragedy of Ferrex and Porrex. The author of this piece was Thomas Sackville, afterwards Lord Buckhurst and Earl of Dorset, who appears to have been assisted by Thomas Norton, although it is probable that the latter had a very THE BRITISH DRAMA. xxxvii small share in its composition. Thomas Sackville, the only son of Sir Richard Sackville, was born at Buckhurst, in Sussex, in 1536 ; studied at Oxford and Cambridge, where he acquired a high reputation as a poet, both in Latin and English ; and afterwards became a student of the Inner Temple. It was while a student there that he wrote his tragedy. He was the author of two other poems, — The Induction, a noble and dignified preface to the Mirror for Magistrates, and The Complaint of the Duke of Buckingham. After travelling in France and Italy, he returned to England, and entered public life, and soon after 1566 was created Lord Buckhurst. He became a great favourite with the queen ; and after the death of Burleigh, succeeded him as Lord High Treasurer. In 1604 he was created Earl of Dorset by King James, died in 1608, and was buried in West- minster Abbey. The play of Gorhodac is regularly divided into five acts and scenes, and is so far an imitation of the classical drama that it has a chorus of ' four ancient and sage men of Britain,' although in the main it may be regarded as an early example of the romantic drama. Preceding each act there is a dumb show intended to prefigure what is to occur, although, as Warton re- marks, 'it is not always typical of the ensuing incidents.' In that which precedes Act V., the impropriety has been committed of introducing a troop of soldiers, 600 years before Christ, with fire-arms, which are discharged to indi- cate the bloodshed about to ensue. Such anachronisms were frequent enough in the old miracle and moral plays, and, as is well known, Shakespeare himself occasionally 'nods' in this respect. 'Dumb show' was not entirely disused even in the more advanced days of the stage. The subject of this drama is taken from the early legendary history of Britain, and the following is Hawkins' abstract of the plot : * Gorboduc, a king of Britain about 600 years before Christ, made in his lifetime a division of his kingdom to his sons Ferrex and Porrex. The two young princes within five years quarrelled for universal sovereignty. A civil war ensued, and Porrex slew his elder brother Ferrex. Their mother Viden, who loved Ferrex best, revenged his death by enter- ing Porrex's chamber in the night, and murdering him in his sleep. The people, exaspe- rated at the cruelty and treachery of this murder, rose in rebellion and killed both Viden and Gorboduc. The nobility then assembled, collected an army, and destroyed the rebels. An intestine war commenced between the chief lords ; the succession of the crown became uncertain and arbitrary for want of the lineal royal issue ; and the country, destitute of a king, and wasted by domestic slaughter, was reduced to a state of the most miserable desolation. ' The tragedy ought properly to have ended with the fourth act, for there the catastrophe is complete j but the author has eked out the play, ' certainly not very amusingly, by various harangues and narrations, relative to the civil war which followed the death of all the members of the royal family.' Although no doubt vastly superior in design and execution to most of the preceding and contemporary theatrical performances, 'it cannot,' says Mr. Collier, 'be disputed that the story proceeds with laborious sluggishness, and that the dialogue is generally as weighty as the plot it developes. The speeches are usually of most tedious extent, and the thoughts and sentiments more than sufficiently trite and commonplace.' Still, considering the circumstances under which this drama was produced, taking into account the rubbish which had possession of the stage at the time, the wretched examples which the author had before him for imitation, as the foundation of our regular tragic drama, it must be considered on the whole a creditable performance. Notwith- standing its inflated language, bad taste, and want of individuality in the characters, the language is occasionally vigorous, and often sweet and musicah This great improvement it has on its predecessors, which, however, was not generally adopted for many years after, viz. its want of rhyme ; it is written in XXXVIU ORIGIN AND EARLY HISTORY OF blank verse. As we have seen before, Marlowe was the first to introduce this improvement on the public stage. A few extracts from this play will be found at the end of this Introduction. At the same time as Gorboduc, or possibly a little earlier, was written a comedy which exists in manuscript in a mutilated state, and is spoken of with approval by Mr. Collier. It is entitled Misogonus, and is probably founded on an Italian novel. Another dramatist, who wrote about the same time as Sackville, was Richard Edwardes, born 1523, died 1566; he was a native of Somersetshire, and was educated at Oxford. Little else appears to be known about him, except that he was the author of several plays, the names of only two of which have come down to us, Palemon and Arcite^ and Damon and Pythias^ the latter alone being extant. It was acted in 1564, but was probably written somewhat earlier. It is a tragi- comedy written in rhyme, and is fuU of all kinds of dramatic improprieties and absurdities, but contains some sweet and fanciful though conceited poetry ; alto- gether, it is a fair production for the time, and may be regarded as one step in advance towards the perfection of the regular drama. In 1566 appeared Bishop Still's Gammer GurtovUs Needle^ a comedy of the same class as Ralph Roister Doister, though much inferior to that production. The plot turns on the loss of Gammer Gur ton's needle, which, after much talk and searching, is found sticking in the seat of her servant Hodge's breeches. The language is even more coarse and antiquated than in its predecessor, which may be accounted for by the lower class of characters that form the dramatis personcB. It contains one of the earliest drinking songs in the language, which, as it has considerable merit and a jolly ring about it, we shall make bold to quote here : * Back and side go bare, go bare, Both foot and hand go cold : But belly, God send thee good ale enough, Whether it be new or old. I cannot eat, but little meat, My stomach is not good; But sure I think, that I can drink With him that wears a hood. Though I go bare, take ye no care, 1 am nothing a cold; I stuff my skin so full within Of jolly good ale and old. Back and side go bare, etc. 1 love no roast, but a nut-brown toast, And a crab laid in the fire ; A little bread shall do me stead, Much bread I not desire. No frost nor snow, no wind, I tix)w, Can hurt me if I wold. I am so wrapt, and throughly lapt Of jolly good ale and old. Back and side go bare, etc. And Tyb my wife, that as her life Loveth well good ale to seek. Full oft drinks she, till ye may see The tears run down her cheek; Then doth she trowl to me the bowl, Even as a malt worm should; And saith, sweet heart, I took my part Of this joJly good ale and old. Back and side go bare, etc. iSTow let them drink, till they nod and winlc. Even as good fellows should do. They shall not miss to have the bliss Good ale doth bring men to : And all poor souls, that have scoured bowls. Or have them lustily trold, God save the lives of them and their wives, AVhether they be young or old. Back and side go bare, etc. ' In the same year as Bishop Still's play appeared, there were represented at Gray's Inn two plays by George Gascoigne (born 1536, died 1577); the one entitled The Supposes, being a translation from Gli Suppositi of Ariosto, and the other Jocasta, adapted from the Phoenissce of Euripides by Gascoigne and a poet named Francis Kinwelmarsh. The former is mainly a close translation from the original, and is remarkable chiefly as being the earliest extant specimen of an English play written in prose. The Siipposes, which is more of an adapta- tion than a translation, is, like Gorboduc, written in blank verse, and contains THE BRITISH DRAMA. XXXIX many passages of spirit, force, and harmony. We quote the following descrip- tion of the fight between Eteocles and Polynices (Act V.) : ' Oh. blind Tinhridled search of sovereignty, Oh tickle train of evil attained state ! Oh fond desire of princely dignity ! Who climbs too soon, he oft repents too late. The golden mean the happy doth suffice ; They lead the poasting day in rare delight, They fill (not feed) their uncontented eyes, They reap such rest as doth beguile the night : They not envy the pomp of haughty train, ISTor dread the dint of proud usurping swords ; But plast alow more sugred joys attain, Than sway of lofty sceptre can afford. Cease to aspire, then ; cease to soar so high, And shun the plague that pierceth noble breasts. To glittering courts what fondness is to fly When better state in baser towers rests ! ' We cannot afford to notice more in detail the productions which appeared previous to the time when the ' great race' of Elizabethan dramatists, commenc- ing with Lilly, began to pour forth their unequalled productions ; indeed there are few pieces extant, produced during that time, of any great merit in them- selves, and we have noticed those above mentioned chiefly to show the reader when and how the regular drama came into being. Enough has been said to prove that shortly after 1560 it was fairly afloat on the sea of literature; and as a proof that the morality was being rapidly superseded by its more vigorous and life-like successor, as well as of the immense productiveness of the period between 1560 and 1580, we may mention that Avhile, during that time, only six moralities were represented at court, there were enacted forty-six regular tragedies and comedies, none of which are now extant. As we are mainly concerned here with the drama as a form of literature, we have not thought it necessary, and, indeed, we have not space, to give any details concerning it in its theatrical aspect. With regard to theatres, it must suffice to say that long after the commencement of the regular drama, moralities and even regular plays w^ere played in public on stages erected in the open air, very often in inn yards. The 3dle Savage in London was a favourite locality for such performances. It would appear, however, that latterly it was customary to represent plays in private in such places as the Inns of Court, and the residences of the sovereign and the nobility. The first regularly licensed theatre was opened at Blackfriars in 1576; and in a very short time it had about half a dozen rivals, as The. Theatre in Shoreditch, The Curtain near Belle Savage, Paris Garden^ Whitefriars, and others. The Globe theatre, with which Shakespeare was connected, was erected on the Bankside in Southwark about 1593, where also were erected The Rose, The Hope, and The Swan theatres. In the time of Shakespeare there would appear to have been at least a dozen of these buildings. 'The theatres were con- structed of wood, of a circular form, open to the weather, excepting over the stage, wdiich was covered with a thatched roof. Outside, on the roof, a flag was hoisted during the time of the performance, which commenced at three o'clock, at the sounding or flourish of trumpets. The cavaliers and fair dames of the court of Elizabeth sat in boxes below the gallery, or were accommodated with stools on the stage, where some of the young gallants also threw themselves at length on the rush-strewn floors, while their pages handed them pipes and tobacco, then a fashionable and highly-prized luxury. The middle classes were crowded in the pit or yard, which was not furnished with seats. Moveable scenery was first introduced by Davenant after the Restoration, but rude imita- tions of towers, woods, animals, or furniture, served to illustrate the scene. To point out the place of action, a board containing the name, painted or written in large letters, was hung out during the performance.' Actresses were not seen on the stage till after the Restoration, the female parts being taken by boys xl ORIGIN AND EARLY HISTORY OF or effeminate-looking young men. It was customary for the king or queen and some of the nobles to retain companies of actors in their service for their own entertainment, although they were also allowed to act in public ; hence the phrases attached to the titles of many old plays, 'Acted by the Queen's Majesty's Servants,' ' the Earl of Leicester's Servants,' etc. As will be seen in the following pages, many of the dramatists were actors as well. SPECIMENS OF EARLY ENGLISH DRAMAS. In order to illustrate the preceding remarks, and enable the reader to judge for himself of the nature and progress of the early English drama, we shall here give specimens of a miracle play, and of an early comedy and tragedy. We have not space to introduce a morality ; but as, with the exception of the characters, it differed but little from a miracle play, an example of a morality can be dispensed with, especially as we have given an abstract of one or two in the Introduction, which we have also done in the case of one of the best Interludes. The miracle play we have selected is the one entitled NocilUs Flood^ from the Chester series ; it was played by the ' Water Leaders and the Drawers of the Dee.' The whole series appears to have been played at one time, and to have occupied a number of days. Previous to the commencement of their exhibi- tion, were read the Banes or proclamation, which gives an account of the sup- posed origin of the plays, and assigns to each of the trade-companies the part it is to take in the performance. Noa/i's Flood was the third in the order of performance, being preceded by The Fall of Lucifer^ and The Creation and the Fall. The first speaker is God, who laments the universal wickedness of the world, declaring his determination to exterminate *man, beast, worm, and fowl.' He then gives Noah the details of the construction of the ark, and the play pro- ceeds as follows : — ' No All. ' Lord, I thank thee loud and still, That to rtie art in such will, And spares me and my household to spill, As I now soothly find. Thy bidding. Lord, I shall fulfil, And never more thee grieve nor grill,* That such grace hath sent me till Amongst all mankind. Have done, you men and women all, Hie you, lest this water fall. To work this ship, chamber and hall. As God hath bidden us do. Shem. Father, I am all ready bowne ;' An axe I have, by my crown! As sharp as any in all this town, For to go thereto. Ham. I have a hatchet wondrous keen, To bite well, as may be seen, A better ground one, as I ween, Is not in all this town. Japheth. And I can make well a pin, ' And with this hammer knock it in ; Go we work but din ^ And I am ready bound. Noah's Wife, And we shall bring timber too, For we must nothing else do ; Women be weak to undergo Any great travail. S hem's Wife. • Here is a good hacking stock, On this you may hew and knock Shall none be idle in this flock; Nay, now may no man fail. Ham's Wife. And I will go gather slyche,* The ship for to caulk and pitch, Anointed it must be with stick, Board, tree, and pine. 1 grill — provoke. 3 but din— without din, i.e. witliout any more noise or talk. 2 6owne— ready. * slyche— slhriQ, mud, or lime. THE BRITISH DRAMA. xH i Japheth's Wife. AVife, we shall in this vessel be kept. And I will gather chips here My children and thou I would ye in leapt. To make a fire for you in fere.^ Noah's Wife. And for to dight- your dinner, Against your coming in. In faith, Noah, I would as lief thou slept ! For all thy frynish* fare, Then Noah beginneth to build the ark, and I will not do after thy rede.* speaketh Noah : Noah. Noah. Now in the name of God, I begin Good wife, do now as I thee bid. To make the ship that we shall in, That we may be ready for to swim Noah's Wife. At the coming of the flood : By Christ ! not or I see more need. These boards here T pin together, To bear us safe from the weather, Though thou stand all day and stare. That we may row hither and thither, Noah. And safe be from the flood. Of this tree will I make the mast. Lord, that women be crabbed aye, Tied with cables that will last, And none are meek I dare well say ; With a sail yard for each blast, That is well seen by me to-day. And each thing in their kind: In witness of you each one. With topcastle and bowsprit. Good wife, let be all this beare, Both cords and ropes I have all mette,' That thou makest in this place here ; To sail forth at the next wet, For all they ween that thou art master. This ship is at an end. And so thou art, by Saint John ! ' • God then gives Noah a list of all the animals he is to take with him into the ark, concluding by declaring that he sh all cause rain to fall for forty days and nights in order that men may be destro} ^ed for their ' unrights.' ' Noah. They shall not drown, by Saint John ' ' Lord, to thy bidding I am beane,« Seeing no other grace will gain. It will I fulfil fain, =• For gracious I thee find ; A hundred winter and twenty An I may save their life. They loved me full well, by Christ ! But thou let them into thy chest. Else row now where thou list. And get thee a new wife. This ship making tarried have I : Noah. If through amendment thy mercy Would fall to mankind. Shem, son, lo ! thy mother is wroth ; By God, such another I do not know! Then Noah shall go into the ark with all his Shem. family, his wife excepted, and the ai'k must be boarded round about, and on the boards Father, I shall fetch her in, I trow. all the beasts and fowls painted. Withouten any fail. — Shem. Mother, my father after thee sends. And bids thee into yonder ship wend. Sir, here are lions, leopards in. Look up and see the wind, Hoi'ses, mares, oxen, and swine ; For we be ready to sail. Goat and calf, sheep and kine ; Noah's Wife. Here sitting thou may see. Ham. Shem, go again to him, I say; I will not come therein to-day. Camels, asses, man may find. Buck and doe, hart and hind, Noah. And beasts of all manner kind, Here be, as thinketh me. Come in, wife, in twenty devils' way! Or else stand there all day. Noah. Ham. Wife, come in : why stand thou there ? Shall we all fetch her in? Thou art ever fro ward, I dare well swear; Noah. Come in, in God's name ! half time it were, Yea, sons, in Christ's blessing and minGl For fear lest we drown. I would you hied you betime. Noah's Wife. For of this flood I am in docbt. Yea, sir, set up your sail, The Good Gossip's Sono. And row forth with evil hail, For withouten fail The flood comes flitting in full fast. I will not out of this town ; On every side that spreads full far ; But I have my gossips every one, For fear of drowning I am aghast ; One foot further I will not go : Good gossips, let us draw near, 1 m /ere— in company. ^ dighl —prepare. ^ 7ne«g— measured. * frynish — nice. * rede- -advice. * (*eane— obedient. xlii ORIGIN AND EARLY HISTORY OF And let us drink or we depart, This window I will shut anon, For ofttimes we have done so ; And into my chamber I will go. For at a draught thou drinks a quart, Till this water so great mone * And so will I do or I go. Be slacked through thy might. Here is a pottle full of Malmser good and strong; Then shall Noah shut the window of the ark, It will rejoice both heart and tongue ; and for a little space be silent, and afterwards Though ISToah think us never so long, looking round about shall say : Here we will drink alike. Noah. Japheth. Lord God, in majesty, Mother, we pray you all together, That such grace hath granted me, Where all was born false to be, For we are here, your own children. Come into the ship for fear of the weather. For his love that you bought ! Therefore now I am bound, My wife, my children, and my meanye,* With sacrifice to honour thee, Noah's Wife, Of beasts, fowls, as thou may'st see And full devotion. That will I not, for all your call, But^ I have my gossips all. God. Shem. Noah, to me thou art full able,^ And to my sacrifice acceptable, In faith, mother, yet you shall, For I have found thee true and stable ; Whether thou wilt or not. On thee now must I mind ; ' Warray « earth I will no more. Noah. For man's sins that grieves me sore. Welcome, wife, into this boat. You shall now grow and multiply, On earth again to edify ; Noah's Wife. • Have thou that for thy note I^ My bow between you and me In the firmament shall be, Noah By every token that you shall see. That such vengeance shall cease. Ha, ha ! marry, this is hot! Man shall never more [It] is good for to be still. Ha ! children, methinks my boat removes, Be wasted with water, as he hath been before ; Our tarrying here highly me grieves, But for sin that grieveth me sore. Over the land the water spreads ; Therefore this vengeance was. God do as he will. . Ah ! great God, thou art so good, My blessing, Noah, I give thee here, That works not thy will is wood,3 To thee, Noah, my servant dear ; Now all this world is one flood, For vengeance shall no more appear, As I see well in sight. And now farewell, my darling dear. "SVe shall next present to the reader so much of the earliest extant Endish comedy {Ualyli Roister Doister) as will enable him to form a notion of its merits | as a drama. gramaiis ^jers0nsf. Men. Harpax. Ealph Roister Doister. A Scrivener. Matthew Merrygreeke. Gavin Goodlucke. \\ omen. Sym Suresby. Christlvn Custance. Tristram Trusty'. Madge Mumblecrust. Dobinet Dougiitie. Tibet Talkapace. Truepenny. Annot Alyface. ACT !.-{ 3CENE I. Matthew Merrygre eke (entereth singing). As long liveth the me rry man (they say), As doth the sorry ma n, and longer by a day. After a few more lines in this strain, he says : 1 52<«— without, unless. 2 „ote-0) headornos e. She evidently makes him feel the weight of her flat. ' wood— mad. * mone — may. 5 meanye — menage, liousehold. « a6/e— fit, proper. ' mtnc^-think. * Warray — war with, curse. THE BRITISH DRAMA. xliii Know ye, that for all this raei'ry note of mine, He might pose me now that should ask where I dine. My living lieth here and there, of God's grace: Sometime with this good man, sometime in that place ; But this day on Ealph Eoister Bolster's, by his For truly of all men he is ray chief banker, Both for meat and money, and my chief sheet- anchor. For sooth Eoister Doister in that he doth say, And require what ye will, ye shall have no nay. But now of Eoister Doister somewhat to express, That ye may esteem him after his worthiness, In these twenty towns, and seek them through- out, Is not the like stock whereon to graft a lout. All the day long is he facing and craking * Of his great acts in fighting and fraymaking ; But when Eoister Doister is put to his proof, To keep the queen's peace is more for his behoof. If any woman smile or cast on him an eye, Up is he to the hard ears in love by and by, And in all the hot haste must she be his wife, Else farewell his good days, and farewell his life : Master Ealph Eoister Doister is but dead and gone, Except she on him take some compassion. I will seek him out. But, lo, he cometh this way. I have yonder espied him sadly coming, And in love for twenty pound by his glooming. ACT I.— SCENE II. Ealph Eoister Doister ; Matthew Merry- GREEKE. R. Roister. Come, death, when thou wilt: I am weary of my life. M. Merry. What is it then ? Are ye in danger of debt to any man ? If ye be, take no thought, nor be not afraid : Let them hardly take thought how they shall be paid. R. Roister. Tut, I owe nought. M. JSJei^'y. What then.' fear ye imprisonment? R. Roister. No. M. Merry. No, I wist, ye offend not so to be shent.'"^ But if he had, the Tower could not you so hold. But to break out at all times ye would be bold. V/hat is it.' hath any man threatened you to beat? R. Roister. What is he that durst have put me in that heat ? He that beateth me, by his arms, shall well find, That I will not be far from him, nor run behind. M. 21erry. That thing know all men, ever since ye overthrew The fellow of the lion which Hercules slew. But what is it then ? R. Roister. Of love I make my moan. M. Meii'y. Ah, this foolish love ! wil't ne'er let us alone ? But because ye were refused the last day, Te said ye would ne'er more be entangled that way. I would meddle no more, since I find all so unkind. craking — boasting. shent — disgraced. R. Roister. Yea, but I cannot so put love out of my mind. M. Merry. What is her name ? R. Roister. Her yonder. M. Merry. Who ? R. Roister. Mistress ah — M. Merry. Fie, fie for shame ! Love ye and know not whom ? but her yonder, a woman ? We shall then get you a wife, I cannot tell when. R. Roister. The fair woman, that supped with us yesternight ; And I heard her name twice or thrice, and had it right. M. Merry. Yea, ye may see ye ne'er take me to good cheer with you ; If ye had, I could have told you her name now. R. Roister. I was to blame indeed, but tho next time perchance. And she dwelleth in this house. M. Meii'y. What, Christian Custance ? R. Roister. Except I have her to my wife, I shall run mad. M. Merry. Nay, unwise, perhaps, but I war- rant you for mad. R. Roister. I am utterly dead unless I have my desire. M. Merry. Where be the bellows that blew this sudden fire ? R. Roister. I hear she is worth a thousand- pound and more. M. Merry. Yea, but learn this one lesson of me afore : An hundred pound of marriage money doubtless. Is ever thirty pound sterling, or somewhat less ; So that her thousand pound, if she be thrifty, Is much near about two hundred and fifty. Howbeit, wooers and widows are never poor. R. Roister. Is she a widow ? I love her better therefore. M. Merry. But I hear she hath made promise to another. R. Roister. He shall go without her, and ho were my brother. M. Merry. I have heard say, I am right well advised. That she hath to Gavin Goodlucke promised. R. Roister. What is that Gavin Goodlucke ? M. Merry. A merchant man. Yet a fitter wife for your ma'ship i might be found. R. Roister. I am sorry God made me so comely, doubtless. For that maketh me each where so highly favoured, And all women on me so enamoured. M. Merry. Enamoured, quoth you ? have ye spied out that ? Ah, sir, marry now I see you know what is what. Enamoured, ka ? 2 Marry, sir, say that again ; But I thought not ye had marked it so plain. R. Roister. Yes, each where they gaze all upon me and stare. M. Merry. Yea, Malkyn, I warrant you as much as they dax-e. And ye will not believe what they say in the street, When your ma'ship passeth by all such as I meet. That sometimes I can scarce find what answer to make. * /na's/ujj— mastership. 2 ka — quotli'a xllv ORIGIN AND EARLY HISTORY OF ^Matthew then tells Ralph what great heroes the women mistake him for, and proceeds thus : O Lord ! (say some) tliat the sight of his face we lack. It is enough for you (say I) to see his back. His face is for ladies of high and noble parages, With -whom he hardly 'scapeth great marriages. "With much more than this, and much otherwise. i?. Roister. I can thee thank that thou canst such answers devise : But I perceive thou dost me throughly know. 31. Merry. I mark your manners for mine own learning, I trow ; But such is your beauty, and such are your acts, Such is your personage, and such are your facts, That all women, fair and foul, more and less, They eye you, they love you, they talk of you doubtless. Your pleasant look maketh them all merry, Ye pass not by, but tbey laugh till they be weary ; Yea and money could I have, the truth to tell. Of many to bring you that way where they dwell. R. Roister. Merrygreeke, for this thy report- ing well of me — M. 3Ier>-y. What should I else, sir ? it is my duty, pardee. R. Roister. I promise thou shalt not lack, Wiiile 1 have a groat. M. Merry. Faith, sir, and I ne'er had more need of a new coat. R. Roister. Thou shalt have one to-morrow, and gold for to spend. M. Meri'y. Then I trust to bring the day to a good end. M. Merry. "What if Christian Custance will not have you, what ? R. Roister. Have me ? yes I warrant yoii, never doubt of that. I know she loveth me, but she dare not speak. She looked on me twenty times yesternight. An d laughed so. M. Merry. In the meantime, sir, if you please, I Avill home. And call your musicians ; for in this your case, It would"^set you forth, and all your wooing grace : Ye may not lack your instruments to play and sins:. ACT I.— SCENE III. Madge Mujiblecuust spinning on the distaff; Tibet Talkapace sewing ; Annot Alyface hiitting ; E. Koistek. I After some sharp practice between Madge, Tibet, and Ealph, the latter and Madge are left alone.] R. Roister. Ah, good sweet nurse. M. Mumbl. Ah, good sweet gentleman. R. Roister. What ? M. Mumbl. Nay, I cannot tell, sir ; but what thing would you ? R. Roister. How doth sweet Custance, my heart of gold, tell me how ? M. Mumbl. She doth very well, sir, and com- mand me to you. R. Roister. To me ? M. Mumbl. Yea, to you, sir. R. Roister. To me ? Nurse, tell me plain. To me ? M. Mumbl. Yea. R. Roister. That woi'd maketh me alive again. I promise thee, nurse, I favour her. aM. Mumbl. E'en so, sir. R. Roister. Bid her sue to me for man-iage. J/". Mumbl. E'en so, sir. R. Roister. And surdy for thy sake she shall speed. 3f. Mumbl. E'en so, sir. R. Roister. I shall be contented to take her. M. Mumbl. E'en so, sir. R. Roister. But at thy request, and for thy sake. 3[. Mumbl. E'en so, sir. R. Roister. And come, hark in thine ear what to say. M. Mumbl. E'en so, sir. [Here let him tell her a great long tale in her ear. ACT I.— SCENE IV. Matthew Merrygreeke; Dobinet Doughtie; Kalph PiOister ; Madge Mumbleckust ; Harpax. M. Men-y. Come on, su-s, apace, and quit your- selves like men. Your pains shall be rewarded. But with whom is he now so sadly rounding » yond? D. Dough. With Nobs Nicehecetur Miserwe fond. M. Merry. God be at your wedding: be ye sped alreadj' 7 I did not suppose that your love was so greedy. I perceive now ye have choice of devotion. And joy have \e, lady, of your promotion. R. Roister. Tush, fool, thou art deceived : this is not she. M. Meri^y. Well, make much of her, and keep her well, I advise ye. I will take no charge of such a fair piece keeping. M. Mumbl. What aileth this fellow? he driveth me to weeping. J/. Merry. What, weep on the wedding day ? be merry, woman: Though I say it, ye have chosen a good gentle- man. R. Roister. What meanest thou man? tut, a whistle. M. Men^. Ah sir, be gopd to her, she is but a gristle. Ah, sweet lamb and coney. R. Roister. Tut, thou art deceived. M. Merry. Weep no more, lady, ye shall bo well received. Up with some merry noise, sirs, to bring home the bride. R. Roister. Gogs arms ! knave, art thou mad ? I tell thee, thou art wide. R. Roister. This same is the fair widow's nurse, of whom ye wot. 3f. Mtri-y. Is she but a nurse "of a house? I * Now so seriously whispering yonder. THE BRITISH DRAMA, xlv R. Roister. This is our best friend, man. M. Merry. Then teach her what to say. M. Mumbl. I am taught ah-eady. M. Mumbl. And what shall I show your mastership's name is ? R. Roister. Nay, she shall make suit, ere she shall know that, ywis. M. Mumbl. Yet, let me somewhat know. ' M. Merry. This is he, understand, That killed the blue spider in Blanchepouder land. M. Mumbl. Yea, Jesus, William, zee law ! did he zo law ? M. Merry. Yea, and the last elephant that ever he saw, As the beast passed by, he start out of a buske,i And e'en with pure strength of arms pluck'd out his great tusk. M. Mumhl. Jesus, Nomine Patris, what a thing was that ! R. Roister. Yea, but Merrygreeke, one thing thou hast forgot. M. Merry. What ? R. Roister. Of the other elephant. M. Merry. Oh, him that fled away ? R. Roister. Yea. 3f. Merry. Yea, he knew that his match was in place that day. M. Mumbl. Oh Lord! my heart quaketh for fear, he is so sore. R. Roister. Thou makest her too much afi-aid, Merrygreeke ; no more. This tale would fear my sweetheart Custance right evil. R. Roister. Now, nurse, take this same letter here to thy mistress ; And as my trust is in tliee, ply my business. M. Mumbl. It shall be done. M. Merry. Who made it ? R. Roister. I wrote it each whit. M. Merry. Then needs it no mending. R. Roister. No, no. M. Meiiy. No, I know your wit. R. Roister. I warrant it well. M. Mumbl. It shall be delivered ; But, if ye speed, shall I be considered? M. Merry. Whough! dost thou doubt of that? M. Mumbl. What shall I have ? M. Merry. An hundred times more than thou canst devise to crave. M. Mumhl. Shall I have some new gear ? for my dole is all spent. 31. Merry. The worst kitchen wench shall go in ladies' raiment. Jf. Mumhl. Yea? 31. 3Ie^'ry. And the worst dri;dge in the house shall go better Than your mistress doth now. 31. Mumbl. Then I trudge with your letter. R. Roister. Now may I repose me: Custance is mine own. Let us sing and play homeward, that it may be known. 3{. 3Ierry. But, are you sure that your letter is well enough ? R. Roister. I wrote it myself. 31. 3Ierry. Then sing we to dinner. [//ere they sing, and go out singing. The letter is delivered to Christian Custance, who refuses to open it. Now this is the best way; now that way is better. ' Up before day, sirs, I charge you, an hour or twain ; Trudge, do me this message, and bring word quick again.' And now am I sent to Dame Christian Cus- tance ; But I fear it will end with a mock for pastance.* I bring her a ring, with a token in a clout ; And, by all guess, this same is her house out of doubt. I know it now perfect, I am in my right way ; And lo ! yonder the old nurse, that was with us last day. ACT IL-SCENE L DOBINET DOUGHTIE. D. Dough. Where is the house I go to, before or behind ? I know not where, nor when, nor how I shall it find. If I had ten men's bodies, and legs, and strength. This trotting that I have must needs lame me at length. And now that my master is new set on woo- I trust there shall none of us find lack of doing : Two pair of shoes a day will now be too little To sex've me, I must trot to and fro so mickle. ' Go, bear me this token ; carry me this letter; ' Dobinet then meets with Truepenny, Tibet, and Annot, and persuades them to convey Ealph's token to their mistress, who rewards them with a sound scolding. But, if ever I see that false boy any more. By your mistresship's licence, I tell you afore, I will rather have my coat twenty times swinged, Than on the naughty wag not to be avenged. C. Custance. Good wenches would not so ramp abroad, idly. But keep within doors, and ply their work earnestly. If one would speak with me, that is a man likely. Ye shall have right good thank to bring me word quickly ; C. Custance. Well, ye naughty girls, if ever I perceive That henceforth ye do letters or tokens receive, To bring unto me, from any person or place. Except ye first show me the party face to face. Either thou or thou, full truly abide thou shalt. Tib. Talk. Pardon this, and the next time powder me in salt. C. Custance. I shall make all girls, by you twain, to beware. Tib. Talk. If I ever offend again, do not me spare. itiske—XtM&ix. s ^a5^a7ic«— pastime. xlvi ORIGIN AND EARLY HISTORY OF But, otherwise, with messages to come iu post, From heuceforth, I promise you, shall be to your cost. Get you in to your work. Tih. and Annot. Yes, forsooth. C. Cusfance. Now will I in too, for I think, so God me mend, This will prove some foolish matter in the end, {_Exeunt. ACT III. SCENE II. Christian Tibet; M. Merrygreeke custaxce. Tib. Talh. Ah! that I might but once in my life have a sight Of him who made us all so ill shent ; by this light, He should never escape, if I had him by the eai'. But, even from his head, I would it bite or tear. Yea, and if one of them were not enough, I would bite them both off, I make God a vow. C. Custance. In at doors ! Tib. Talk. I am gone. [Exit. M. Merry. Dame Custance, God ye save. C. Custance. Welcome, friend Merx-ygreeke : and, what thing would ye have ? M. Mo'ry. I am come to you, a little matter to break. C. Custance. No creature hath my faith and troth but one. That is Gavin Goodlucke : and if it be not he. He hath no title this way, whatever he be. For I know none to whom I have such word spoken. M. Merry. Ye know him not you, by his letter and token ? C. Custance. Indeed true it is, that a letter I have. But I never read it yet, as God me save. M. Merry. Ye a woman, and your letter so long unread ! C. Custance. Ye may thereby know what haste I have to wed. But now, who is it for ni}^ hand, I know by guess. M. Merry. Ah ! well, I say. C. Custance. It is Roister Doister, doubtless. M. Merry. Will ye never leave this dissimu- lation ? Ye know him not ? C. Custance. But by imagination ; For, no man there is, but a very dolt and lout, That to woo a widow would so go about. He shall never have me his wife while he do live. M. Merry. Then will he have you if he may, so miglit 1 thrive; And he biddeth j'ou send him word by me, That ye humbly beseech him ye may his wife be, And that there shall be no let in you, nor mistrust, But to be wedded on Sunday next if he list ; And biddeth you to look for him. C. Custance. Doth he bid so ? M. Merry. When he cometh, ask him whether he did or no. C. Custance. Go say, that I bid him keep him warm at home, For, if he come abroad, he shall cough me a mome.i My mind was vexed, I 'shrew his head, sottish dolt. M. Merry. He hath in his head — C. Custance. As much brain as a burbolt.2 M. Moi'y. Well, Dame Custance, if he hear you thus play choplogic. C. Custance. What will he ? M. Merry. Play the devil in the horologe.^ C. Custance. I defy him, lout. M. Merry. Shall 1 tell him what ye say ? C. Custance. Yea, and add whatsoever thou canst, I thee pray. And I will avouch it whatsoever it be. M. Merry. Then letine alone; we will laugh well, ye shall see : It will not be long ere he will hither resort. C. Custance. Let him come when him list, I wish no better sport. Fare ye well, I will in, and read my great letter : I shall to my wooer make answer the better. [Exeunt. Matthew goes and gives Ralph an exaggerated version of Custance's answer, taking the opportunity of letting his silly friend know his own real opinion of his character. Under cover of Christian's answer, Kalph is called The veriest dolt that ever was born ; 'Ye are happy (quo' I) that ye are a woman. And veriest lubber, sloven, and beast. This would cost you your life in case ye were Living in this world, from the west to the east ; man,' Yet, of himself hath he such opinion. That in all the world is not the like minion. R. Roister. I will go home and die. He thinketh each woman to be brought in M. Merry. Then shall I bid toll the bell ? R. Roister. No. M. Merry. God have mercy oh your soul : ah, good gentleman. That e'er you should thus die for an unkind woman ! Will you drink once ere you go? R. Roister. No, no, I will none. M. Merry. How feel your soul to God ? R. Roister. 1 am nigh gone. M. Merry. And shall we hence straight ? J A mome is another word for a fool, and tlie phrase ' cough me a fool ' is common in old plays, 2 A burbolt is a biid-bolt, or arrow with which boys knocked down birds ; it had a nob at the end. • 'To play the devil in the horologue,' or in the dock, is an expression to indicate the making of confusion. •The divell is in th' orloge, the houres to trye : Searche houres by the sjin, the devyll's dyal will lie.' J. Haywood's Proverbs, 1562. With the only sight of his goodly personage : Yet, none that will have him : we do him lout and flock, And make him among us, our common sporting- stock ; And so would I now (quo' she), save only be- cause, — * Better nay,' (quo' I) — ' I list not meddle with daws,' THE BRITISH DRAMA. xlvii R. Roister. Yea. M. Merry. Placebo dilexi. [ut infra} Master Koister Doister will straight go home and die. R. Roister. Hecb. how, alas! the pangs of death my heart do break. M. Merry. Hold your peace, for shame, sir! a dead man may not speak. Neqiiando: What mourners and what torches shall we have ? R. Roister. Kone. M. Merry, Dirige. He will go darkling to his grave, — Neque lux, neque crux, neque mourners, neque clink, He will steal to heaven, unknowing to God, I think, A porta inferi. Who shall yoiu' goods possess ? Ealph is however persuaded to live, and by Matthew's advice resolves to try what a personal interview with Christian will do. Matthew tells him not to . . . Speak with a faint heart to Custance, But with a lusty breast and countenance, That she may know she hath to answer to a man. Te must have a portly brag after your estate. R. Roister. Thou shalt be my sectour,2 and have all, more and less. M. Merry. Requiem xternam. Now God reward your mastership, And I will cry halfpenny dole for your worship. . . . All men take heed by this one gentleman, How you set your love upon an unkind woman: For these women be all such mad, peevish elves. They will not be won, except it please them- selves. But, in faith, Custance, if ever ye come in hell, Master Koister Doister shall serve you as well. And will ye needs go from us thus in very deed? R. Roister. Yea, in good sadness. ACT III.— SCENE IV. Custance ; Merrygreeke ; Eoister Doister. C. Custance. Get ye home, idle folks. M. Merry. Why may not we be here ? Nay and ye will haze, haze ; ^ otherwise, I tell you plain. And ye will not haze, then give us our gear again. C. Custance. Indeed I have of youi's much gay things, God save all. R. Roister. Speak gently unto her, and let her take all. M. Merry. Ye are too tender-hearted : shall she make us daws ? Nay dame, I will be plain with you in my friend's cause. R. Roister. Let all this pass, sweetheart, and accept my service. C. Custance. I will not be served with a fool in no wise. When I choose a husband, I hope to take a man. M. Merry. Ye know not where your prefer- ment lieth, I see. He sendeth you such a token, ring, and letter. C. Custance. Marry, here it is, ye never saw a better. M. Merry. Let us see your letter. C. Custance. Hold, read it if ye can, And see what letter it is to win a woman. M. Merry. ' To mine own dear coney bird, sweetheart, and pigsny, Good Mistress Custance, present these by and by.' Of this superscription do ye blame the style ? C. Custance. With the rest, as good stuff as ye read a great while. M. Men^y. ' Sweet Mistress, whereas I love you nothing at all, Regarding your substance and riches chief of all; For your personage, beauty, demeanour, and wit, I commend me unto you never a whit. Sorry to hear report of your good welfare, For (as I hear say) such your conditions are. That ye be worthy favour of no living man, To be abhorred of every honest man. To be taken for a woman inclined to vice. Nothing at all to virtue giving her due price. Wherefore concerning marriage, ye are thought Such a fine paragon, as ne'er honest man bought. And now by these presents I do you advertise That I am minded to marry you in nowise. For your goods and substance, I could be content To take you as ye are. If ye mind to be my wife.' . . . The letter goes on thus to some length, it being capable of affording two very different senses, according to the punctuation. R. Roister. Ye may so take it, but I meant it not so, by cock. M. Merry. Who can blame this woman to fume, and fret, and rage ? €. Custance. Might not a woman be proud of such a husband ? M. Merry. Ah, that ye would in a letter show such despite. R. Roister. Oh, I would I had him here, the which did it indite ! M. Merry. Why, ye made it yourself, ye told me, by this light. R. Roister. Yea, I meant I wrote it mine own self yesternight. C. Custance. Yes, sir, I would not have sent you such a mock. C. Custance. God be with you both, and seek no more to me. [Exeat. R. Roister. Wough ! she is gone for ever, I shall her no more see ! M. MeiTy. What weep ? fie for shame ! and blubber ? for manhood's sake Never let your foe so much pleasure of you take. Rather play the man's part, and do love refrain : If she despise you, e'en despise ye her again. 1 Meaning at the end of the play, where ' the Psalmodie ' is inserted, which is supposed to be sung below. •».e. executor. 3 jjaze means 'ha' us,' or 'have us.' xlviii ORIGIN AND EARLY HISTORY OF R. Roister. By gosse, and for thy sake I defy her indeed. M. Meri'y. Yea, and perchance that way ye shall much sooner speed. For one mad property these women have, in faith. When ye will, they will not ; will not ye, then will they. R. Roistei'. Thou dost the trath telL M. Merry. Well, I lament. R. Roister. So do I. M. Meii'y. Wherefore ? R. Roister. For this thing; Because she is gone. M. Merry. I mourn for another thing. R. Roister. What is it, Merrygreeke, where- fore dost thou grief take 7 M. Merry. That I am not a woman myself for your sake. For though I say it, a goodly person ye be. R. Roister. Ko, no. M. Merry. Yes, a goodly man as e'er I did see. R. Roister. No, I am a poor homely man, as God made me. M. Meri-y. By the faith that I owe to God, sir, but ye be. Would I might, for your sake, spend a thousand pound land. R. Roister. I daresay thou wouldst have me to thy husband. M. Mei-ry. Yea; and I were the fairest lady in the shire. And knew you as I know you, and see you now here. Well, I say no more. R. Roister. Gramercies, with all my heart. M. Merry. But since that cannot "be, will ye play a wise part ? R. Roister. How should I ? M. Merry. Kefrain from Custance awhile now. And I warrant her soon right glad to seek to you: You shall see her anon come on her knees creeping. And pray you to be good to her, salt teara weeping. R. Roister. But what and she come not ? M. Mei'i-y. In faith, then farewell she ; Or else, if ye be wroth, ye may avenged be. R. Roister. But I would be avenged in the mean space. On that vile scribbler, that did my wooing disgrace. J/. Merry. Scribbler (quo' you) ? Indeed, he is worthy no less. I will call him to you, and ye bid me, doubtless. R. Roister. He shall never 'scape death on my sword's point, Though I should be iom therefor joint by joint. They then have an interview with the Scrivener, whom Ralph tries to bully, but is made to eat humble-pie. The Scrivener reads the letter, pointing it so as to bring out a sense different from Ralph's copy. Matthew and Ralph then resolve to have another interview with Christian, and put her right as to the letter. C. Custance. If he have perfect health, I am as I would be. Sym Sure. Such news will please him well, this is as it should be. C. Custance. I think now long for him. Sym Sure. And he as long for you. C. Custance. When will he be at home .' Sym Sure. His heart is here e'en now ; His body cometh after. C. Custance. I would see that fain. Sym Sure. As fast as wind and sail can cairy it amain. But what two men are yonder, coming hither- ward ? C. Ctistance. Now, I shrew their best Christmas cheeks both togetherwArd ! ACT IV.— SCENE I. Sym Suresby. Sym Suresby. My master, Gavin Goodlucke, after me a day, Because of the weather, thought best his ship to stay ; And now that I have the rough surges so well past, God grant I may find all things safe here at last; Then will I think all my travel well spent. Now, the first point wherefore my master hath me sent Is to salute Dame Christian Custance, his wife Espoused ; whom he tendereth no less than his life. But lo, forth cometh herself happily indeed. ACT IV.— SCENE II. Christian Custance; Sym Suresby. C. Custance. I come to see if any more stirring be here. But what stranger is this, which doth to me appear ? Sym Sure. I will speak to her. — Dame, the Lord you save and see. C. distance. What, friend Sym Suresby? Forsooth, right welcome ye be. How doth mine own Gavin Goodlucke ? I pray thee tell. Sym Sure. When he knoweth of your health he will be perfect well. ACT IV.— SCENE III. Christian Custance ; Sym Suresby ; PiALpii EoisTER Doister ; Matthew Merrygreeke; Truepenny. C. Custance. What mean these lewd fellows thus to trouble me still ? Sym Suresby here perchance shall thereof deem some ill. And shall suspect me in some point of naughti- An they come hitherward. R. Roister. Well found, sweet wife (I trust), for all this your sour look. C. Custance. Wife! why call ye me wife ? Sym Sure. Wife ! This gear goeth a-erook. THE BRITISH DRAMA. xlfx M. Merry. Nay, Mistress Custance, I warrant you, our letter Is not as we read e'en now, but mucli better. C. Custance. I did not refuse him for the letter's sake. R. Roister, Then ye are content me for your husband to take. C. Custance. You for my husband to take? Nothing less truly. But what prate I with fools.'' have I nought else to do ? Come in with me, Sym Suresby, to take some repast. Sym Sure. I must, e'er I di'ink, by your leave, go in all haste To a place or two with earnest letters of his. C. Custance. Then come drink here with me. Sym Sure. I thank you. C. Custance. Do not miss. You shall have a token to your master with you. Sym Sure. No tokens this time, gramercies. God be with you. [^Exeat. C. Custance. I will be even with thee, thou beast, thou may be bold. R. Roister. Will ye have us, then ? C. Custance. I will never have thee. R. Roister. Then will I have you ? C. Custance. No, the devil shall have thee. I have got this hour more shame and harm by thee, Than all thy life days thou canst do me honesty. Faith, rather than to marry with such a doltish lout, I would match myself with a beggar out of doubt. R. Roister. Yes, dame, I will have you whether ye will or no. I command you to love me, wherefore should ye not ? Is not my love to you chafing and burning hot ? ]\[. Merry. To her, that is well said. R. Roister. Shall I so break my brain To dote upon you, and ye not love us again? M. Merry. Well said yet. C. Custance. Go to, thou goose. R. Roister. I say. Kit Custance, In case yo will not haze, well, better yes per- chance. C. Custance. Avaunt, lozell, pick thee hence. M. Merry. Well, sir, ye perceive, For all your kind offer, she will not you receive. R. Roister. Then a straw for her, and a straw for her again. She shall not be my wife, would she never so fain, No, and though she would be at ten thousand pound cost. M. Merry. Lo, dame, ye may see what a husband ye have lost. C. Custance. Yea, no force; a jewel much better lost than found. M. Merry. Ah, ye will not believe how this doth my heart wound. How should a marriage between you be toward, If both parties draw back, and become so f reward ? R. Roister. Nay, dame, I will fire thee out of thy house, and destroy Thee and all thine, and that by and by. M. Merry. Nay, for the passion of God, sir, do not so. R. Roister. Yes, except she will say yea to that she said no. Christian then sends for Tristram Trusty, and she and her maids resolve that if Ralph makes his appearance again they will give him a warm reception. Trusty meantime endeavours to console her ; Merrygreeke joins them, and assures Christian that he takes part in Ralph's wooing merely for sport and pastime. C. distance. I'll ache your heads both ! I was never wearier. Nor never more vexed since the first day I was born. M. Merry. Hither will he repair with a sheep's look full grim. By plain force and violence to drive you to yield. C. Custance. If ye two bid me, we will with him pitch afield, And my maids together. M. Merry. Let us see ; be bold. C. Custance. Ye shall see women's war. T. Trtisty. That fight will 1 behold. M. Merry. If occasion serve, taking his part full brim, I will strike at you, but the rap shall light on When we first appear — [him. C. Custance. Then will I run away, As though I were afraid. M. Merry. A stomach, quoth you : he that will that deny, I know, was never at dinner in your company. R. Roister. Nay, the stomach of a man it is that 1 mean. 3f. 3ferry. Nay, the stomach of a horse or a dog, I wean. 7?. Roister. Nay, a man's stomach with a weapon mean I. M. Merry. Ten men can scarce match you with a spoon in a pie. R. Roister. Nay, the stomach of a man to try in strife. M. Meii^y. I never saw your stomach cloyed yet in my life. R. Roister. Tush, I mean in strife or fighting to try. M. Meivy, We shall see how ye will strike now being angry. R. Roister. Nay, as for they, shall every mother's child die, And in this my fume a little thing might make me To beat down house and all, and else the devil take me. 31. Merry. Be not at one with her upon any amends.^ That is, be not reconciled with her upon any amends 1 ORIGIN AND EARLY HISTORY OF R. Roister. No, though she make to me never so many friends ; Not if all the world for her would undertake : No, not God himself neither, shall not her peace make. On, therefore! march forward! Soft^ stay a while yet. M. Meiiy. On. R. Roister. Tarry. 31. Meri'y. On. R. Roister. Soft. Now forward set. C. distance. What business have we here.' Out, alas, alas ! R. Roister. Ha, ha, ha, ha, ha! Didst thou see that, Merrygreeke, how afraid she was ? Didst thou see how she jQled apace out of my sight ? Ah, good sweet Custance! I pity her, by this light. M. Mei'^'y. That tender heart of yours will mar altogether ; Thus will ye be turned with waggiug of a feather. R. Roister. On, sirs, keep your ray. M. Me)'ry. On forth, while this gear is hot. R. Roister. Soft, the Arms of Calais, I have one thing forgot. M. Merry. What lack we now ? R. Roister. Retire, or else we be all slain. M. Meivy. Back, for the passion of God! back, sirs, back again ! What is the great matter ? R. Roister. This hasty forthgoing Had almost brought us all to utter undoing : It made me forget a thing most necessary. M. Merry. Well remembered of a captain, by Saint Mary. R. Roister. It is a thing must be had. 3f. Meivy. Let us have it then. R. Roister. But I wot not where, nor how. M. Meri-y. Then wot not I when. But what is it 7 R. Roister. Of a chief thing I am to seek. M. Mei'ry. Tut so will ye be, when ye have studied a week. But tell me what it is. R. Roister. I lack yet an headpiece. M. Merry. The kitchen coUocavit, ^ the best hens to gi-ace. Eun, fetch it, Dobinet, and come at once withal, And bring with thee my potgun, hanging by the wall. I have seen your head with it, full many a time. Covered as safe as it had been with a screen ; And I wan-ant it save your head from any stroke, Except perchance to be amazed with the smoke. I warrant your head therewith, except for the mist. As safe as if it were locked up in a chest. And lo, here our Dobinet cometh with it now. D. Dough. It will cover me to the shoulders well enough. M. Merry. Let me see it on. R. Roister. In faith, it doth metely well. M. Merry. There can be no fitter thing. Now ye must us tell What to do. R. Roister. Now forth in array, sirs, and stop no more. M. Meri^. Now, Saint George to borrow ! - Drum, dubbe a dubbe afore. * It is not at all clear what kitchen utensil is here meant— perhaps a culender. 2 To borrow is to protect or guard. Thus in Every T. Trusty. What mean you to do, sir ? Com- mit manslaughter ? R. Roister. To kill forty such is a matter of laughtex'. T. Trusty. And who is it, sir, whom ye intend thus to spill ? R. Roister. Foolish Custance here forceth me against my will. T. Trusty. And is there no means your ex- treme wrath to slake ? She shall some amends unto your good ma'ship make. R. Roister. I will none amends. T. Trusty. Is her offence so sore ? M. Merry. And he were a lout she could have done do more. She hath called him fool, and dressed him like ' a fool, Mocked him like a fool, used him like a fooL T. Trusty. Well yet the sheriff, the justice, or constable. Her misdemeanour to punish might be able. R. Roister. No, sir, I mine own self will in this present cause Be sheriff, and justice, and whole judge of the laws. This matter to amend, all officers be I shall, Constable, bailiff, sergeant. ACT IV.— SCENE VIIL M. Merrygreeke ; C. Custance ; R. Roister; Tibet Talk. ; An. Alyface ; M. Mumble- crust; Truepenny; Dobinet Doughtie; Harp AX. Two dmims with their Ensigns. C. Custance. What caitiffs are those that shake my house wall ? M. Mei-ry. Ah, sirrah, now Custance, if ye had so much wit, I would see you ask pardon, and yourselves submit. C. Custance. Have I still this ado with a couple of fools ? M. Meri^. Here ye what she saith ? C. Custance. Maidens, come forth with your tools In array. M. Meii'y. Dubbadub, sirrah. R. Roister. In array ! They come suddenly on us. M. Merry. Dubbadub. R. Roister. In array ! That ever I was born ! we are takea tardy. M. Merry. Now, sirs, quit ourselves like tall men and hardy. C. Custance. On afore, Truepenny, hold thine own, Annot, On toward them, Tibet, for escape us they can- not. Come forth, Madge Mumblecrust : so, stand fast together. M. Merry. God send us a fair day. R. Roister. See, thej' march on hither. Tib. Talk. But mistress — C. Custance. What sayst you ? Tih. Talk. Shall I go fetch our goose ? C. Custance. What to do ? Tih. Talk. To yonder captain I will turn her Man, ' Fro payne it wyll you borowe.' Shakespeare in Richard ii. has the exclamation, ' Saint George to thrive,' which has much the same meaning. THE BRITISH DRAMA. li And she gape and hiss at him, as she doth at me, I durst jeopard my hand, she will make him flee. C. Custance. On, forward. R. Roister. They come. M. Merry. Stand. R. Roister. Hold. M. Merry. Keep. R. Roister. There. M. Merry. Strike. R. Roister. Take heed. C. Custance. Well said, Truepenny. Truepenny. Ah, whoresons ! C. distance. Well done, indeerl. M. Merry. Hold thine own, Harpax : down with them, Dobinet. C. Custance. Now Madge, there Annot ; now stick them, Tibet. Tib. Talk. All my chief quarrel is to this same little knave. That beguiled me last day : nothing shall him save. D. Dough. Down with this little quean, that hath at me such spite : Save you from her, master, it is a very sprite. C. Custance. I myself will mounsire grand captain ^ undertake. R. Roister. They win ground. M. Merry. Save yourself, sir, for God's sake ! R. Roister. Out, alas, I am slain ! help ! M. Merry. Save yourself ! R. Roister. Alas ! M. Merry. Nay then, have at you, mistress. R. Roister. Thou hittest me, alas. M. Merry. I will strike at Custance here. R. Roister. Thou hittest me. M. Merry. So I will. Nay, Mistress Custance. R. Roister. Alas, thou hittest me still. Hold! M. Men'y. Save yourself, sir ! R. Roister. Help ! Out alas, I am slain. M. Merry. Truce, hold your hands ! How, how say you, Custance, for saving of your life. Will ye yield and grant to be this gentleman's wife ? C. Custance. He told me he loved me : call ye this love .'' M. Merry. He loved a while, even like a turtle-dove. C. Custance. Gay love, God save it, so soon hot, so soon cold. M. Merry. I am sorry for you : he could love you yet, so he could. R. Roister. Nay, she shall be none of mine. M. Mei-ry. Why so ? R. Roister. Come away, by the mass, she is mankine.'^ I durst adventure the loss of my right hand, If she did not slay her other husband. And see if she prepare not again to fight. M. Merry. What then? Saint George to borrow, our lady's knight. R. Roister. Slay else whom she will, by Gog, she shall not slay me. M. Merry. How then ? R. Roister. Rather than to be slain, I will flee. C. Custance. To it again, my knightnesses : down with them all! R. Roister. Away, away, away ! she will else kill us all. 1 That is, Monsieur grand Capitaine. " ' She is mankine,' or of the male species. So Sicinius, In Coriolanus, Act iv. scene 2, asks Volumnia, ' Are you mankind ? ' — See the notes upon this passage. 3f. Merry. Nay, stick to it, like an hardy man and a tall. R. Roister. Oh, bones ! thou hittest me. Away, or else die we shall. 3f. Merry. Away, for the passion of our sweet Lord Jesus Christ. C. Custance. Away, lout and lubber, or I shall be thy priest. So, this field is ours, we have driven them all away. Now Eoister Bolster will no more wooing begin. [Exeunt. ACT v.— SCENE II. C. Custance; Gavin Goodlucke; Sym SURESBY. C. Custance, I come forth to see and hearken for news good ; For about this hour is the time, of likelihood, That Gavin Goodlucke, by the sayings of Suresby, Would be at home ; and lo ! yonder I see him I. What, Gavin Goodlucke ! the only hope of my life, Welcome home, and kiss me, your true espoused wife. G. Good. Nay, soft, Dame Custance; I must first, by your licence. See whether all things be clear in your con- science. I hear of your doings to me very strange. C. Custance. What! fear ye that my faith towards you should change ? G. Good. I must needs mistrust ye be else- where entangled. For I hear that certain men with you have wrangled About the promise of marriage by you to them made. Sym Sure. If ye be honest, my words can hurt you nothing ; But what I heard and saw, I might not but report. C. Custance. Why, Tristram Trusty, sir, your true and faithful friend. Was privy both to the beginning and the end. Let him be the judge, and for me testify. G. Good. I will the more credit that he shall verify : And, because I will the truth know, e'en as it is, I will^ to him myself, and know all, without miss. Come on, Sym Suresby, that before my friend thou may Avouch thee the same words, which thou didst to me say. [^Exeunt. ACT v.— SCENE IV. Gavin Goodlucke ; Tristram Trusty; C. Custance; Sym Suresby. G. Good. And was it none other than ye to me report ? T. Trusty. No ; and here were ye wished, to have seen the sport. G. Good. AVould I had, rather than half of that in my purse. Sym Sure. And I do much rejoice the matter was no worse : lii ORIGIN AND EARLY HISTORY OF And like as to open it I was to you faithful, So of Dame Custance honest truth I am joyful. For, God forfend that I should hurt her by false report. G. Good. Well, I will no longer hold her in discomfort. C. Custance. Now come they hitherward: I trust all shall be well. G. Good. Sweet Custance, neither heart caa think, nor tongue tell, How much I joy in your constant fidelity. Come now, kiss me, the pearl of perfect honesty. C. Custance. God let me no longer to continue in life. Than I shall towards you continue a true wife. In the last scene Ealph is badgered, and at last pardoned, and allowed to take part in the general merrymaking. Our last example of the early regular English drama, is Thomas Sackville's (Lord Buckhurst) Ferrex and Porrex, the oldest extant tragedy. gramHtjs ^jersonae. GoRBODUC, King 0/ Great Britain. ViDENA, Queen, and Wife to King GoR- BODUC. Ferrex, Fddei' Son to King Gorboduc. PoRREX, Younger Son to King Gorboduc Clotyn, Duke q/" Cornwall. Fergus, DuTce 0/ Albany. Mandud, Duke o/Loegris. Gwenard, Duke o/" Cumberland. EuBULUS, Secretary to the King. Arostus, a Counsellor to the King. D CRD AN, a Counsellor assigned by the King to his Eldest Son Ferrex. Philander, a Counsellor assigned by the King to his Youngest Son Porrex. Both being of the old King's Council before. Hermon, a Parasite remaining ivith Ferrex. Tyndar, a Parasite remaining loith Porrex. NuNTius, a Messenger of the Elder Brothers Death. NuNTius, a Messenger of Duke Fergus rising in arms. Marcet.la, a Lady of the Queeii's Pi-ivy Chamber. Chorus, four ancient and sage men of Bi-itain. ACT I.— SCENE I. ViDEXA; Ferrex. Vid. The silent night that brings the quiet pause. From painful travails of the weary day, Prolongs my careful thoughts, and makes me blame The slow Aurore, that so for love or shame Doth long delay to show her blushing face ; And now the day renews my grieful plaint. Fe7'. My gracious lady, and my mother dear, Pardon my grief for your so grieved mind To ask what cause tormenteth so your heart. Vid. So great a wrong, and so unjust despite, Without all cause against all course of kind ! 1 Fer. Such causeless wrong, and so unjust despite, May have redress, or, at the least, revenge. Vid. Neither, my son; such is the froward will, The person such, such my mishap and thine. Fer. Mine ! know I none, but grief for your distress. Vid. Yes ; mine for thine, my son. A father ? No: In kind a father, not in kindliness. Fer. My father.'' why, I know nothing at all. Wherein I have misdone unto his grace. Vid. Therefore, the more unkind to thee and me. For, knowing well, my son, the tender love That I have ever borne, and bear to thee, He, grieved thereat, is not content alone To spoil thee of my sight, my chiefest joy, But thee, of thy birthright and heritage, Causeless, unkindly, and in wrongful wise, Against all law and right, he will bereave : Half of his kingdom he will give away. Fer. To whom ? * iimf— nature. Vid. Even to Porrex, his younger son ; Whose growing pride I do so sore suspect, That, being rais'd to equal rule with thee, Methinks 1 see his envious heart to swell, Fill'd with disdain and with ambitious hope. Fer. Madam, leave care and careful plaint for me. Just hath my father been to every wight : His first injustice he will not extend To me, I trust, that give no cause thereof; My brother's pride shall hurt himself, not me. Vid. So grant the gods ! But yet, thy father so Hath firmly fixed his unmoved mind. That plaints and prayers can no whit avail ; For those have I essay'd ; but even this day He will endeavour to procure assent Of all his council to his fond devise. Fer. Their ancestors from race to race have borne True faith to my forefathers and their seed : I trust they eke will bear the like to me. Vid. There resteth all. But if they fail thereof. And if the end bring forth an ill success, On them and theirs the mischief shall befall, And so I pray the gods requite it them ; And so they will, for so is wont to be. When lords and trusted rulers under kings. To please the present fancy of the prince. With wrong transpose the course of gover- nance. Murders, mischief, or civil sword at length, Or mutual treason, or a just revenge, When right succeeding line returns again. By Jove's just judgment and deserved wrath. Brings them to cruel and reproachful death. And roots their names and kindreds from the earth. Fer. Mother, content you, you shall see the end. Vid. The end! thy end I fear: Jove end me first! THE BRITISH DRAHA. liii The second act is occupied with long speeches from Gorboduc, Arostus, Philander, and Eubulus, concerning the king's proposed division of the king- dom between his two sons. Gorboduc concludes thus : G(yr. I take your faithful hearts in thankful part : But since I see no cause to draw my mind, To fear the nature of my loving sons, Or to misdeem that envy or disdain Can there work hate, where nature planteth love; In one self purpose do I still abide. My love extendeth equally to both, My land sufficeth for them both also. Humber shall part the marches of their realms : The southern part the elder shall possess, The northern shall Porrex, the younger, rule. In quiet I will pass mine aged days, Free from the travail, and the painful cares. That hasten age upon the worthiest kings. But lest the fraud, that ye do seem to fear, Of flattering tongues, corrupt their tender youth, And writhe them to the ways of youthful lust. To climbing pride, or to revenging hate, Or to neglecting of their careful charge. Lewdly to live in wanton recklessness. Or to oppressing of the rightful cause, Or not to Avreak the wrongs done to the poor. To tread down truth, or favour false deceit ; I mean to join to either of my sons Some one of those, whose long approved faith And wisdom tried, may well assure my heart. That mining fraud shall find no way to creep Into their fenced ears with grave advice. This is the end ; and so I pray you all To bear my sons the love and loyalty That I have found within your faithful breasts. \_Exeunt. ACT II.— SCENE I. Ferrex; Hermon; Dordan. Fer. I marvel much what reason led the king, My father, thus, without all my desert, To reave ' me half the kingdom, which by course Of law and nature should remain to me. Eer. If you with stubborn and untamed pride Had stood against him in rebelling wise ; Or if, with grudging mind, you had envied So slow a sliding of his aged years ; Or sought before your time to haste the course Of fatal death upon his I'oyal head ; Or stain'd your stock with murder of your kin ; Some face of reason might perhaps have seem'd To yield some likely cause to spoil ye thus. Dor. Ne yet your father, O most noble prince. Did ever think so foul a thing of you ! For he, with more than father's tender love. While yet the fates do lend him life to rule (Who long might live to see your ruling well), To you, my lord, and to his other son, Lo, he resigns his realm and royalty ; Which never would so wise a prince have done, If he had once misdeem'd that in your heart There ever lodged so unkind a thought. But tender love, my lord, and settled trust Of your good nature, and your noble mind, Made him to place you thus in royal throne, And now to give you half his realm to guide ; Yea, and that half which, in abounding store Of things that serve to make a wealthy realm, In stately cities, and in fruitful soil, In temperate breathing of the milder heaven, In things of needful use, which friendly sea Transports by traffic from the foreign parts. In flowing wealth, in honour, and in force. Doth pass the double value of the part That Porrex hath allotted to his reign. Such is your case, such is your father's love. Fer. Ah love, my friends ! Love wrongs not whom he loves. Dor. Ne yet he wrongeth you, that giveth you So large a reign, ere that the course of time Bring you to kingdom by descended right. Which time perhaps might end your time before. Fer. Is this no wrong, say you, to reave from me My native right of half so great a realm, And thus to match his younger son with me In equal pow'r, and in as great degree ? Yea, and what son ? The son whose swelling pride Would never yield one point of reverence, When I, the elder, and apparent heir. Stood in the likelihood to possess the whole ; Yea, and that son which from his childish age Envieth mine honour, and doth hate my life. What will he now do, when his pride, his rage. The mindful malice of his grudging heart Is arm'd with force, with wealth, and kingly state ? Dor. Alas, my lord, what grieful thing is this. That of your brother you can think so ill ? I never saw him utter likely sign, Whereby a man might see or once misdeem Such hate of you, nor such unyielding pride. Ill is their counsel, shameful be their end. That raising such mistrustful fear in you, Sowing the seed of such unkindly hate. Travail by reason to destroy you both. Wise is your brother, and of noble hope, Worthy to wield a large and mighty realm. So much a stronger friend have you thereby. Whose strength is your strength if you 'gi-ee in one. Hermon, in a long insidious speech, advises Ferrex to Attempt redress by arms, and wreak yourself Upon his life that gaineth by your loss. Who now to shame of you, and grief of us, In your own kingdom triumphs over you. But if you like not yet so hot device. ^ r&avt — bereave of. Ne list to take such vantage of the time, But, though with peril of your own estate. You will not be the first that shall invade ; Assemble yet your force for your defence. And for your safety stand upon your guard. Dor. heaven! was there ever heard known So wicked counsel to a noble prince ? Let me, my lord, disclose unto your grace liv ORIGIN AND EARLY HISTORY OF This heinous tale, what mischief it contains ; Your father's death, your brother's, and your own, Your present murder, and eternal shame. Hear me, king, and suffer not to sink So high a treason in your princely breast. Fer. The mighty gods forbid that ever I Should once conceive such mischief in my heart. The gods forbid, I say : Cease you to speak so any more to me ; Nor you, my friend, with answer once repeat So foul a tale : in silence let it die. But, since I fear my younger brother's rage, And since, perhaps, some other man may give Some like advice, to move his grudging head At mine estate ; which counsel may perchance Take greater force with him, than this with me; I will in secret so prepare myself, As, if his malice or his lust to reign Break forth in arms or sudden violence, I may withstand his rage and keep mine own. \_Extunt. ACT II.-SCENE II. PORKEX ; Tyndar ; Philander. For. And is it thus .-* and doth he so prepare Against his brother as his mortal foe 1 And now, while yet his aged father lives, Neither regards he him, nor fears he me ? "War would he have ? and he shall have it so. Tyn. I saw myself the great prepared store Of horse, of armour, and of weapons there. The rascal numbers of unskilful sort Are filled with monstrous tales of you and yours. In secret, I was counsell'd by my friends To haste me thence, and brought you, as you know. Letters from those that both can truly tell. And would not write unless they knew it well. Phil. My lord, yet ere you move unkindly war. Send to your brother, to demand the cause. Perhaps some traitorous tales have filled his ears With false reports against your noble grace ; Which, once disclos'd, shall end the growing strife. That else, not stay'd with wise foresight in time. Shall hazard both your kingdoms and your lives. Send to your father eke, he shall appease Your kindled minds, and rid you of this fear. Poi\ Rid me of fear ! I fear him not at all ; Nor will to him, nor to my father send. If danger were for one to tarry there. Think ye it safety to return again .? In mischiefs, such as Ferrex now intends. The wonted courteous laws to messengers Are not observ'd, which in just war they use. Shall I so hazard any one of mine 1 Shall I betray my trusty friends to him. That have disclosed his treason unto me ? Let him entreat that fears ; I fear him not. Or shall I to the king, my father, send ? Yea, and send now, while such a mother lives, That loves my brothei-, and that liateth me ? Shall I give leisure, by my fond delays. To Ferrex to oppress me all unaware ? I will not ; but I will invade his realm, And seek the traitor prince within his court. Mischief for mischief is a due reward. His wretched head shall pay the worthy price Of this his treason and his hate to me. Shall I abide, and treat, and send, and pray. And hold my yielding throat to traitor's knife, While I, with valiant mind and conquering force. Might rid myself of foes, and win a realm ? Yet rather, when I have the wretch's head. Then to the king, my father, will I send. The bootless case may yet appease his wrath : If not, I will defend me as I may. {Exmnt PoRREX and Tyndar. Phil. Lo, here the end of these two youthful kings ! The father's death ! the ruin of their realms ! But I will to the king, their father, haste, Ere this mischief come to the likely end. ACT III.— SCENE L GORBODUC; EUBULUS; Arostus. Gov. cruel fates, mindful wrath of gods. Whose vengeance neither Simois' stained streams Flowing with blood of Trojan princes slain. Nor Phrygian fields made rank with corpses dead' Of Asian kings and lords, can yet appease; Nor slaughter of unhappy Priam's race. Nor Ilion's fall, made level with the soil. Can yet sufiice : but still continued rage Pursues our lives, and from the farthest seas Doth chase the issues of destroyed Troy. ' Oh, no man happy till his end be seen.' If any flowing wealth and seeming joy In present years might make a happy wight, Happy was Hecuba, the wofull'st wretch That ever lived to make a mirror of; And happy Priam, with his noble sons; And happy I, till now, alas ! I see And feel my most unhappy wretchedness. Behold, my lords, read ye this letter here; Lo, it contains the ruin of our realm, If timely speed provide not hasty help. A letter is read from Eubulus making known the resolution taken by Ferrex, immediately after which Philander enters and announces that Porrex In haste prepareth to invade His brother's land, and with unkindly war Threatens the murder of your eldest son. After some tedious speechifying, a messenger enters and tells the king, THE BRITISH DRAMA. Iv Porrex, your younger son, With sudden force invaded hath the land That you to Ferrex did allot to rule ; And with his own most bloody hand he hath His brother slain, and doth possess his realm. Got. O heavens, send down the flames of your revenge ! Destroy, I say, with flash of wreakful fire The traitor son, and then the wretched sire ! But let us go, that yet perhaps I may Die with revenge, and 'pease the hateful gods. \Extunt. ACT IV.— SCENE I. ' ViDENA sola. Why should I live, and linger forth my time In longer life to double my distress "i But whereunto waste I this ruthf ul speech. To thee that hast thy brother's blood thus shed .' Shall I still think that from this womb thou sprung "i That I thee bare ? or take thee for my son ? No, traitor, no ; I thee refuse for mine : Murderer, I thee renounce ; thou art not mine. Never, wretch, this womb conceived thee ; Nor never bode I painful throes for thee. Changeling to me thou art, and not my child, Nor to no wight that spark of pity knew. Ruthless, unkind, monster of nature's work, Thou never suck'd the milk of woman's breast; But, from thy birth, the cruel tiger's teats Have nursed thee ; nor yet of flesh and blood Eorm'd is thy heart, but of hard iron wrought ; And wild and desert woods breed thee to life. But canst thou hope to 'scape my just revenge ? Or that these hands will not be wroke ^ on thee .' Dost thou not know that Ferrex' mother lives. That loved him mox'e dearly than herself ? And doth she live, and is not 'venged on thee ? ACT IV.— SCENE II. GoRBODuc; Arostus. Gor. We marvel much, whereto this ling'ring stay Falls out so long. . . . Aros. Lo, where he comes, and Eubulus with him. Erder Exjbulus and Porrex. Evh. According to your highness's hest to me. Here have I Poi-rex brought, even in sucli sort As from his wearied horse he did alight, For that your grace did will such haste therein. Gor. We like -and praise this speedy will iu you, To work the thing that to your charge wo gave. Poi-rex, if we so far should swerve from kind, And from those bounds which law of nature sets, As thou hast done by vile and wretched deed. In cruel murder of thy brother's life ; Our present hand could stay no longer time, But straight should bathe this blade in blood of thee. As just revenge of thy detested crime. No ; we should not offend the law of kind, If now this sword of ours did slay thee here : For thou hast murder'd him, whose heinous death Even nature's force doth move us to revenge By blood again ; and justice forceth us To measure death for death, thy due desert. Yet since thou art our child, and since as yet In this hard case what word thou canst allege For thy defence, by us hath not been heard, We are content to stay our will for that Which justice bids us presently to work. And give thee leave to use thy speech at full. If ought thou have to lay for thine excuse. Porrex then, in a long speech, endeavours to exculpate himself by urging that what he had done was purely in self-defence. Gor. Oh cruel wight, should any cause prevail To make thee stain thy hands with brothei^'s blood? But what of thee we will resolve to do Shall yet remain unknown. Thou in the mean Shalt from our royal presence banish'd be, Until our piincely pleasure further shall To thee be show'^d. Depart therefore our sight, Accursed child! [.E'xtV Porrex.] .What cruel destiny. What froward fate hath soi-ted - us this chance, That even in those, where we should comfort find. Where our delight now in our aged days Should rest and be, even there our only grief And deepest sorrows to abridge our life. Most pining cares and deadly thoughts do grow. Aros. Your grace shall now, in these grave years of yours, Have found ere this the price of mortal joys; How short they be, how fading here in earth, How full of change, how brittle our estate, Of nothing sure, save only of the death. To whom both man and all the world doth owe Their end at last ; neither shall nature's power In other sort against your heart prevail, Than as the naked hand whose stroke essays The armed breast where force doth light in vain. Gor. Many can yield right sage and grave advice Of patient spirit to others wrapp'd in woe, And can in speech both rule and conquer kind ; Who, if by proof they might feel nature's force. Would show themselves men as they are indeed. Which now will needs be gods. But what doth mean The sorry cheer of her that here doth come ? Enter Marcella. Mar. Oh where is ruth ? or where is pity now ? Whither is gentle heart and mercy fled 1 Ai'e they exil'd out of our stony breasts, Never to make return ? is all the world Drowned in blood, and sunk in cruelty ? If not in women mercy may be found, If -not, alas, within the mother's breast. To her own child, to her own flesh and blood; If ruth be banish'd thence, if pity there May have no place, if there no gentle heart Do live and dwell, where should we seek it then ? Gor. Madam, alas, what means your woful tale? ^ wroXre— wreak'd, revenged. soriecf— allotted. Ivi ORIGIN AND HISTORY OF THE BRITISH DRAMA. Mar. silly woman I ! "why to tliis hour Have kind and fortune thus deferr'd my breath, That I should live to see this doleful day ? Will ever wight believe that such hard heart Could rest within the cruel mother's breast, With her own hand to slay her only son ? But out, alas ! these eyes beheld the same : They saw the dreary sight, and are become Most ruthf ul records of the bloody fact. Porrex, alas, is by his mother slain. And with her hand, a woful thing to tell. While slumbering on his careful bed he rests. His heart stabb'd in with knife is reft of life. Gor. Eubulus, oh draw this sword of ours, And pierce this heart with speed ! O hateful light, O loathsome life, sweet and welcome death ! Dear Eubulus, work this we thee beseech ! Eub. Patience, your grace ; perhaps he liveth yet. With wound receiv'd, but not of certain death. Gor. Oh let us then repair imto the place, And see if Porrex live, or thus be slain. [Exeunt Gorboduc and Eubulus. Mar. Alas, he liveth not ! it is too true, That with these eyes, of him a peerless prince, Son to a king, and in the flower of youth. Even with a twink a senseless stock I saw. Aros. Oh damned deed! Mar. But hear this ruthf ul end : The noble prince, pierc'd with the sudden wound. Out of his wretched slumber hastily start. Whose strength now failing straight he over- threw. When in the fall his eyes, e'en new unclos'd. Beheld the queen, and cried to her for help. We then, alas, the ladies which that time Did there attend, seeing that heinous deed. And hearing him oft call the wretched name Of mother, and to cry to her for aid. Whose direful hand gave him the mortal wound, Pitying, alas (for nought else could we do), His ruthful end, ran to the woful bed, Dispoiled straight his breast, and all we might Wiped in vain, with napkins next at hand, The sudden streams of blood that flushed fast Out of the gaping wound. Oh what a look ! Oh what a ruthful steadfast eye methougbt He fixed upon my face, which to my death Will never part from me, when with a braid ^ A deep-fetched sigh he gave, and therewithal Clasping his hands, to heaven he cast his sight. And straight pale death pressing within his face, The flying ghost his mortal corpse forsook ! Aros. Never did age bring forth so vile a fact. Mar. Oh hard and cruel hap, that thus assigned Unto so worthy a wight so wretched end ; But most hard cruel heart, that could consent To lend the hateful destinies that hand, By which, alas, so heinous crime was wrought. queen of adamant, marble breast, If not the favour of his comely face. If not his princely cheer^ and countenance, His valiant active arms, his manly breast, If not his fair and seemly personage. His noble limbs in such proportion cast As would have wrapt a silly woman's thought ; If this might not have moved thy bloody heart. And that most cruel hand the wretched weapon Even to let fall, and kissed him in the face, With tears for i*uth to reave such one by death; Should natui-e yet consent to slay her son ? Oh mother, thou to murder thus thy child ! . . , Ah, noble prince, how oft have I beheld Thee mounted on thy fierce and trampling steed. Shining in armour bright before the tilt, And with thy mistress' sleeve tied on thy helm, And charge thy staff to please thy lady's eye. That bowed the headpiece of thy friendly foe ! How oft in arms on horse to bend the mace, How oft in arms on foot to break the sword. Which never now these eyes may see again ! Aros. Madam, alas, in vain these plaints are shed ; Rather with me depart, and help to swage The thoughtful griefs that in the aged king Must needs by nature grow by death of this His only son, whom he did hold so dear. Mar. What wight is that which saw that I did see. And could refrain to wail with plaint and tears ? Not I, alas, that heart is not in me : But let us go, for I am grieved anew. To call to mind the wretched father's woe. \Exeunt. Choinis. Oh happy wight, that suffers not the snare Of mui'derous mind to tangle him in blood ! And happy he that can in time beware By other's harms, and turn it to his good. But woe to him that, fearing not to offend. Doth serve his lust, and will not see the end. The fifth act concludes with the following couplet, Tennysonian in style and sentiment : For right will always live, and rise at length, But wrong can never take deep root to last. a braid — a start. ' c/ieer— appearance, face. JOHN LILLY [John Lilly or Lyly, probably the earliest regular dramatist after Lord Buckhurst, was born in Kent about 1553. He became a student of Magdalen College, Oxford, in 1569 ; took his degree of Bachelor of Arts in 1573, and his Master's degree in 1575. According to Anthony a Wood, he appears not to have been a very hard student, ' but always averse to the crabbed studies of logic and philosophy. ' Thdre is extant among the Lansdowne manu- scripts a letter, in very good Latin, dated 1574, written by Lilly to Lord Burghley, desiring his Lordship's patronage and assistance ; with what result is not known. Burghley, how- ever, seems afterwards to have conferred upon him some office connected with his own house- hold. From two letters extant, written by Lilly to Queen Elizabeth, it is inferred that he was a candidate for the office of Master of the Kevels, probably with no success. After leaving college, he appears to have spent most of his time in London, supporting himself by his pen. When he died is unknown, probably somewhere about the beginning of the seventeenth century. Mr. Fairholt, editor of Lilly's dramatic works, infers from certain allusions in a work of Nash's, that our author ' was a little man, was married, and fond of tobacco. ' The works by which Lilly is now best known are his two prose works, entitled Euphues ; or, the ATUttomy of Wit, and Euphues and his England, which gave rise to the term and the aff'ected style of writing known as Euphuism. However tedious and trifling these works may appear to modern readers, there can be no doubt that Lilly's contem- poraries admired and imitated them to an incredible extent. Euphuism became the rage, even Shakspeare being smitten by the fever. Blount, the editor of an edition of his plays published in 1632, says 'that beauty in court which could not parley Euphuisme, was as little regarded as she which now there speaks not French ; ' and Anthony a Wood tells us that ' in these books of Euphues, 'tis said that our nation is indebted for a new English in them, which the flower of the youth thereof learned. ' By most of his contemporaries he seems to have been held in great estimation. 'The chief characteristic of his style,' says Mr. Collier, 'besides its smoothness, is the employment of a species of fabulous or un- natural natural philosophy, in which the existence of certain animals, vegetables, and minerals with peculiar properties is presumed, in order to afford similes and illustrations. ' As far as the dramatic style allows, Lilly's dramas are to a great extent disfigured by this painfully unnatural fine writing, although there is comparatively little of it in the work we have selected. Campaspe, or Alexander and Campaspe, as it is sometimes entitled, has some claim to be considered a historical play, in that the dramatis personce are mostly his- torical characters. The incident on which the play is founded is mentioned by Pliny ; and the plot, though slight, is, on the whole, well wrought out by the author. Although the scene is laid in Athens, in the time of Alexander the Great, the persons of the drama are, in character and manners, Englishmen of Lilly's own time. It is one of the best and most interesting of the author's plays, some of the characters, such as Diogenes and his servant Manes, being drawn with considerable force and distinctness ; and the wit is sometimes clever, amusing, and original. Hazlitt says of it : ' This play is a very pleasing transcript of old manners and sentiment. It is full of sweetness, and point, of Attic salt and the honey of Hymettus.' Although, when compared with many of his contemporaries, Lilly cannot be ranked very high as a dramatist, still he aff"ords a not unpalatable foretaste of the rich feast of wit and wisdom which immediately followed. As we learn from the pro- 41 42 THE ENGLISH DRAMATISTS, logues and epilogues, this play was written in liaste, for representation at court, after which it made its appearance at Blackfriars theatre. Besides Campaspe, first printed in 1584, Lilly wrote the following dramas : — Sapho and Phao (1584) ; Endymion (1591) ; Galathea (1592) ; Midas (1592) ; Mother Bombie (1594) ; The Maid's Metamorphosis (1600) ; Lovers Metamorphosis (1601). It is doubtful whether Lilly was the author of the last two.J CAMPASPE PLAYED BEFORE THE QUEEN'S MAJESTY ON NEW YEAR'S DAY, AT NIGHT, BY HER MAJESTY'S CHILDREN, AND THE CHILDREN OF ST. PAUL'S. Imprinted at London for Thomas Cadman^ 1584. THE PEOLOGUE AT THE BLACK- FEIAKS. They that fear the stinging of wasps make fans of peacocks' tails, whose spots are like eyes ; and Lepidus, which could not sleep for the chattering of birds, set up a beast, whose head was like a dragon ; and we, which stand in awe of report, are compelled to set before our owl Pallas's shield, thinking by her virtue to cover the other's deformity. It was a sign of famine to Egypt when Nylus flowed less than twelve cubits, or more than eighteen ; and it may threaten despair unto us, if we be less courteous than you look for, or more cumbersome. But as Theseus, being promised to be brought to an eagle's nest, and travelling all the day, found but a wren in a hedge, yet said, This is a bird ; so we hope, if the shower of our swelling moun- tain seem to bring forth some elephant, perform but a mouse, you will gently say. This is a beast! Basil softly touched yieldeth a sweet scent, but chafed in the hand, a rank savour. "We fear, even so, that our labours, slily^ glanced on, will breed some content, but examined to the proof, small commendation. The haste in per- forming shall be our excuse.^ There went two nights to the begetting of Hercules. Feathers appear not on the Phoenix under seven months, and the mulberry is twelve in budding ; but our travails are like the hare's, who at one time bringeth forth, nourisheth, and engendereth again; or hke the brood of Trochilus, whose eggs in the same moment that they are laid be- come birds. But howsoever we finish our work, wo crave pardon if we offend in matter, and patience if we transgress in manners. We have mixed mirth with counsel, and discipline with 1 SHly glanced ow— read superficially. 2 It was, as we have said, written in haste for per- formance at court. delight, thinking it not amiss in the same garden to sow pot-herbs that we set flowers. But we hope, as harts that cast their horns, snakes their skins, eagles their bills, become more fresh for any other labour; so our charge being shaken off, we shall be fit for greater matters. But lest, like the Myndians, we make our gates greater than our towns, and that our play runs out at the preface, we here conclude, wishing that although there be in your precise judgments an universal mislike, yet we may enjoy by your wonted courtesies a general silence. THE PKOLOGUE AT THE COURT. We are ashamed that our bird, which fluttereth by twilight, seeming a swan, should be proved a bat set against the sun. But as Jupiter placed Silenus's ass among the stars, and Alcibiades covered his pictures, being owls and apes, with a curtain embroidered with lions and eagles, so are we enforced upon a rough discourse to draw on a smooth excuse, resembling lapidaries, who think to hide the crack in a stone by setting it deep in gold. The gods supped once with poor Baucis, the Persian kings sometimes shaved sticks: our hope is your Highness will at this time lend an ear to an idle pastime. Appion, raising Homer from hell, demanded only who was his father ; and we, calling Alexander from his grave, seek only who was his love. What- soever we present, we wish it may be thought the dancing of Agrippa his shadows, who, in the moment they were seen, were of any shape one would conceive ; or Lynces, who having a quick sight to discern, have a short memory to forget. With us it is like to fare as with these torches which, giving light to others, consume them- selves ; and we, showing delight to others, shame ourselves. JOHN LILLY. 43 ^ramati^ P^r^onit. Alexander, King of Macedon. Hephestion, Ms General. Clytus, \ PaRMENIO, f -TTT MiLECTDS, ( ^«^^<'^^- Phrygius, ) Melippus, Chamberlain to Alexander. Aristotle, Diogenes, Crisippus, Crates, )■ Philosophers. Cleanthes, Anaxarchus, Crysus, Apelles, a Painter. i?ivms;} ^^'^^'^^"^ ^2/ ^'^^'«- Perim, \ Mild, [• /Sows to Sylvius. Trico, ) Granichus, Servant to Plato, Manes, Servant to Diogenes. PsYLLUS, Servant to Apelles. Page to Alexander. Citizens of Athens. CaMPASPE,} rri 1, n ^^ TiMocLEA,! ^^^^^« Captives. Lais, a Courtezan. Scene — Athens. ACT L— SCENE I. Clytus, Parmenio, Timoclea, Campaspe, Alexander, Hephestion. Clytus. Parmenio, I cannot tell whethei' I should more commend in Alexander's victories courage or courtesy ; in the one being a resolu- tion without fear, in the other a liberality above custom : Thebes is razed, the people not racked, towers thrown down, bodies not thrust aside, a conquest without conflict, and a cruel war in a mild peace. Par. Clytus, it becometh the son of Philip to be none other than Alexander is ; therefore see- ing in the father a full perfection, who could have doubted in the son an excellency ? For as the moon can borrow nothing else of the sun but light ; so of a sire, in whom nothing but virtue was, what could the child receive but singular ?i It is for turkies^ to stain each other, not for diamonds ; in the one to be made a dif- ference in goodness, in the other no comparison. Clytus. You mistake me, Parmenio, if, whilst I commend Alexander, you imagine I call Philip into question ; unless happily^ you conjecture (which none of judgment will conceive) that, because I like the fruit, therefore I heave at the tree ; or coveting to kiss the child, I therefore go about to poison the teat. Par. Ay, but Clytus, I perceive you are born in the east, and never laugh but at the sun rising ; which argueth though a duty where you ought, yet no great devotion where you might. Clytus. We will make no controversy of that of which there ought to be no question ; only this shall be the opinion of us both, that none was worthy to be the father of Alexander but Philip, nor any meet to be the son of Philip but Alex- ander. Par. Soft, Clytus, behold the spoils and pri- soners ! — a pleasant sight to us, because profit is joined with honour ; not much painful to them, because their captivity is eased by mercy. Timo. Fortune, thou didst never yet deceive virtue, because virtue never yet did trust fortune. Sword and fire will never get spoO, where wis- dom and fortitude bear sway. Thebes, thy walls were raised by the sweetness of the harp, but razed by the shrillness of the trumpet. Alex- ander had never come so near the walls, had * singular—yfhat is singular, rare, or excellent. * Turquoises. * happily— h&^ly, perhaps ; from Aop— chance. Epaminondas^ walked about the walls; and yet might the Thebans have been merry in their streets, if he had been to watch their towers. But destiny is seldom foreseen, never prevented. We are here now captives, whose necks are yoked by force, but whose hearts cannot yield by death. Come, Campaspe and the rest, let us not be ashamed to cast our eyes on him, on whom we feared not to cast our darts. Par. Madam, you need not doubt ; it is Alex- ander that is the conqueror. Timo. Alexander hath overcome, not con- quered. Par. To bring all under his subjection is to conquer. llmo. He cannot subdue that which is divine. Par. Thebes was not. Timo. Virtue is. Clytus. Alexander, as he tendreth ^ virtue, so he will you ; he drinketh not blood, but thirsteth after honour ; he is greedy of victory, but never satisfied with mercy; in fight terrible, as be- cometh a captain ; in conquest mild, as beseemeth a Iriog. In all things, than which nothing can be greater, he is Alexander. Camp. Then, if it be such a thing to be Alex- ander, I hope it shall be no miserable thing to be a virgin ; for if he save our honours, it is more than to restore our goods. And rather do I wish he preserve our fame than our lives ; which, if he do, we will confess there can be no greater thing than to be Alexander. Alex. Clytus, are these prisoners ? of whence these spoils ? Clytus. Like^ your Majesty, they are prisoners, and of Thebes. Alex. Of what calling or reputation ? * Clytus. I know not, but they seem to be ladies of honour. Alex. I will know. — Madam, of whence yoa are I know, but who, I cannot tell. Timo. Alexander, I am the sister of Theagines, who fought a battle with thy father before the city of Ohieronte, where he died, I say, which none can gainsay, valiantly. Alex. Lady, there seem in your words sparks of your brother's deeds, but worser fortune in your life than his death. But fear not., for you shall live without violence, enemies, or necessity.' 1 One of the greatest Greeks. He raised Thebes to the supremacy of Greece, which she lost almost as soon as he died, b.c. 362. 2 tendreth— has a tender regard for, loveth. 3 Like your Majesty— m&y it please your Majesty. * reputation — repute or rank. ^ want or poverty. 44 THE ENGLISH DRAMATISTS, — But what are you, fair lady — another sister to Theagines ? Camp. No sister to Theagines, but an humble handmaid to Alexander, born of a mean parent- age, but to extreme fortune. Alex. Well, ladies (for so your virtues show you), whatsoever your births be, you shall be honourably entreated.' Athens shall be your Thebes, and you shall not be as abjects2 of war, but as subjects to Alexander. Parmenio, con- duct these honourable ladies into the city, charge the soldiers not so much as in words to offer them any offence, and let all wants be supplied so far forth as shall be necessary for such persons and my prisoners. [Exeunt Parmenio and cap- tives.'] Hephestion, it resteth now that we have as great care to govern in peace as conquer in war ; that, whilst arms cease, arts may flourish, and, joining letters with lances, we endeavour to be as good philosophers as soldiers, knowing it no less praise to be wise than commendable to be valiant. Hep. Your Majesty therein showeth that you have as great desire to rule as to subdue ; and needs must that commonwealth be fortunate whose captain is a philosopher, and whose phi- losopher a captain. [Exeunt.] ACT I.— SCENE II. Manes, Granichus, Psyllus. Manes. I serve instead of a master,* a mouse, whose house is a tub, whose dinner is a crust, and whose bed is a board. Psyllus. Then art thou in a state of life which philosophers commend. A crumb for thy supper, an hand for thy cup, and thy clothes for thy sheets. For natura paucis contenta.^ Gran. Manes, it is pity so proper a man should be cast away upon a philosopher : but that Diogenes, that dog, should have Manes, that dog-bolt,^ it grieveth nature and spiteth art : the one having found thee so dissolute, absolute, I would say, in body, the other so single, singular in mind. Manes. Are you merry .' It is a sign by the trip of your tongue, and the toss of your head, that you have done that to-day which I have not done these three days. Psyllus. What's that? Manes. Dined. Gran. I think Diogenes keeps but cold cheer. Manes. I would it were so, but he keepeth neither hot nor cold. Ch'an. What then, lukewarm? That® made Manes run from his master the last day. Psyllus. Manes had reason ; for bis name fore- told as much. Manes. My name ? how so, sir boy ? Psyllus. You know that it is called Mons a Movmdo^'' because it stands still. Manes. Good. 1 entreated— iraaXQ^. 2 captives or slaves. 3 It is a curious inconsistency that Diogenes, the cynic and despiser of luxury, should here be made to keep a servant in his tub. * ' Nature is content with a few things.' 5 dog-bolt — evidently a term of reproach, nearly syno- nymous with dog, only perhaps more contemptuous. Butler uses it as an adj., in the sense of base. — Nakes. ® Dodsley reads what here. ^ 'Mountain from moving,' on the lucus a non lucendo principle. Lilly here, in jest or earnest, makes Psyllus derive mons (mountain) from Lat. moveo, to move. Following out the principle, Psyllus tries to make a wretched joke, and raise the laugh against Manes, by deriving his name from Lat. maneo, to remain. Psyllus. And thou art named Manes, a Manen- do, because thou runnest away. Manes. Passing' reasons ! I did not run away, but retire. Psyllus. To a prison, because thou wouldst have leisure to contemplate. Manes. I will prove that my body was immor- tal, because it was in prison. Gran. As how ? Manes. Did your masters never teach you that the soul is immortal? Gran. Yes. Manes. And the body is the prison of the soul ? Gran. True. Manes. Why then, thus to make my body im- mortal, I put it in prison. Gran. Oh bad ! Psyllus. Excellent ill ! Manes. You may see how dull a fasting wit is ; therefore, Psyllus, let us go to supper with Granichus : Plato is the best fellow of all philo- sophers. Give me him that reads in the morning in the school, and at noon in the kitchen. Psyllus. And me. Gran. Ah ! sirs, my master is a king in his parlour for the body, and a god in his study for the soul. Among all his men, he commendeth one that is an excellent musician ; then stand I by, and clap another on the shoulder, and say, this is a passing good cook. Manes. It is well done, Granichus ; for, give me pleasure that goes in at the mouth, not the ear ; I had rather fill my guts than my brains. Psyllus. I serve Apelles, who feedeth me, as Diogenes doth Manes; for at dinner, the one preacheth abstinence, the other commendeth counterfeiting.^ When I would eat meat, he paints a spit ; and when I thirst, ' Oh,' saith he, ' is not this a fair pot .'' and points to a table which contains the banquet of the gods, where are many dishes to feed the eye, but not to fill the gut Gran. What doest thou then ? Psyllus. This doth he then, bring in many examples that some have lived by savours, and proveth that much easier it is to fat by colours, and tells of birds that have been fatted by painted grapes in winter; and how many have so fed their eyes with their mistress's picture, that they never desired to take food, being glutted with the delight in their favours. 3 Then doth he shoAv me counterfeits,* such as have surfeited with their filthy and loathsome vomits, and with the riotous bacchanals of the god Bacchus, and his disorderly crew, which are painted all to the life in his shop. To conclude, I fare hardly, though I go richly, which maketh me, when I should begin to sha- dow* a lady's face, to draw a lamb's head, and sometime to set to the body of a maid a shoulder of mutton; for semper animus vieus est in pa- tinis.^ Manes. Thou art a god to me ; for, could I see but a cook's shop painted, I would make mine eyes fat as butter. For I have nought but sen- tences to fill mj' maw : as, plures occidit cropula quam gladius;^ musa jejunantibus arnica;^ re- pletion killeth delicately ; and an old saw of ' Passing reasons— ^ne reasoning indeed. 2 covnte7'feiting — painting. 3 favours — graces ; beauties. * Counterfeits — pictures or portraits. ^ Shadotc — outline. 6 'My mind is always among the stew-pans,' or 'my belly is always crying cupboard.' — From Terence. ' ' Surfeit (or intemperance) slayeth more than the sword.' • ' The Muse Is a friend to the fasting.' JOHN LILLY. 45 abstinence by Socrates, The belly is the head's grave. Thus with sayings, not with meat, he maketh a gallimafray.^ Gran. But how dost thou then live ? Manes. With fine jests, sweet air, and the dogs' alms. Gran. Well, for this time I will stanch thy gut, and, among pots and platters, thou shalt see what it is to serve Plato. Psyllus. For joy of it, Granichus, let's sing. Manes. My voice is as clear in the evening as in the morning. Gran. Another commodity' of emptiness. Song. Gran. for a bowl of fat canary. Rich Palei-mo, sparkling sherry, Some nectar else, from Juno's dairy, these draughts would make us merry. Psyllm. for a wench (I deal in faces, And in other daintier things) ; Tickled am I with her embraces, Fme dancing in such fairy rings. Manes. for a plump fat leg of mutton, Veal, lamb, capon, pig, and coney ;* None is happy but a glutton, None an ass but who wants money. Chor. Wines (indeed) and girls are good. But brave victuals feast the blood ; For wenches, wine, and lusty cheer, Jove would leap down to surfeit here. ACT I.— SCENE III. Melippus, Plato, Aristotle, Crisippus, Crates, Cleanthes, Anaxarchus, Alexander, He- PHESTioN, Parjienio, Clytus, Diogenes. Melip. I had never such ado to warn scholars to come before a king. First, I came to Crisippus, a tall, lean, old mad man, willing* him presently to appear before Alexander. He stood staring on my face, neither moving his eyes nor his body. I urging him to give some answer, he took up a book, sat down, and said nothing. Melissa, his maid, told me it was his manner, and that oftentimes she was fain to thrust meat into his mouth, for that he would rather starve than cease study. Well, thought I, seeing bookish men are so blockish, and great clerks such simple courtiers, I will neither be partaker of their commons nor their commendations. From thence I came to Plato and to Aristotle, and to divers other ; none refusing to come, saving an old ob- scui'e fellow, who, sitting in a tub turned towards the sun, read Greek to a young boy. Him, when I wiDed to appear before Alexander, he answered, ' If Alexander would fain see me, let him come to me ; if learn of me, let him come to me ; what- soever it be, let him come to me.' ' Why,' said I, he is a king.' He answered, ' Why, I am a philo- sopher.' ' Why, but he is Alexander.' ' Ay, but I am Diogenes.' I was half angry to see one so crooked in his shape, to be so crabbed in his sayings. So, going my way, I said, ' Thou shalt repent it, if thou comest not to Alexander.' ' Nay, ' smiling, answered he, ' Alexander may repent it if he come not to Diogenes : virtue must be sought, not offered.' And so, turning himself to his cell, he grunted I know not what, like a pig ^ galUmafray—'h&%h, or hodge-podge, a mixture of many ingredients; used also metaphorically. 2 commodity — advantage, or convenience. 3 coney — rabbit; pronounced here Arure'e. * wi7/»n$r— desiring. iinder a tub. But I must be gone, the philoso- phers are coming. {^Exit.'] Plato. It is a difficult controversy, Aristotle, and rather to be wondered at than believed, how natural causes should work supernatural effects. Aris. I do not so much stand upon the appari- tion* is seen in the moon, neither the Demonium of Socrates, as that I cannot by natural i-eason give any reason of the ebbing and flowing of the sea ; which makes me, in the depth of my studies, to cry out, ' ens entium miserere mei.'' '^ Plato. Cleanthes, and you attribute so much to nature, by searching for things which are not to be found, that, whilst you study a cause of your own, you omit the occasion itself. There is no man so savage, in whom resteth not this divine particle, that there is an omnipotent, eternal, and divine mover, which may be called God. Cleant. I am of this mind, that that first mover, which you term God, is the instrument of all the movings which we attribute to nature. The earth, which is mass, swimmeth on the sea, seasons divided in themselves, fruits growing in themselves, the majesty of the sky, the whole firmament of the world, and whatsoever else appeareth miraculous, what man, almost of mean capacity, but can prove it natural ? Anax. These causes shall be debated at our philosophers' feast, in which controversy I will take part with Aristotle, that there is Natura naturans^3 and yet not God Cra. And I with Plato, that there is Devs optimtts maximiis^* and not nature. Aris. Here cometh Alexander. Alex. I see, Hephestion, that these philosophers are here attending for us. Hep. They are not philosophers if they know not their duties. Alex. But I much marvel Diogenes should b& so dogged. Hep. I do not think but his excuse will be better than Melippus' message. Alex. I will go see him, Hephestion, because I long to see him that would command Alexander to come, to whom all the world is like to come. Aristotle and the rest, sithence^ my coming from Thebes to Athens, from a place of conquest to a palace of quiet, I have resolved with myself ia my court to have as many philosophers as I had in my camp soldiers. My court shall be a school, wherein I will have used as great doctrine in peace as I did in war discipline. Aris. We are all here ready to be commanded^ and glad we ai'e that we are commanded, for that nothing better becometh kings than litera- ture, which maketh them come as near to the gods in wisdom as they do in dignity. Alex. It is so, Aristotle ; but yet there i& among you, yea, and of your bringing up, that sought to destroy Alexander: Calistenes, Aris- totle, whose treasons against his prince shall not be borne out with the reasons of his philosophy. Aris. If ever mischief entered into the heart of Calistenes,^ let Calistenes suffer for it; but that Aristotle ever imagined any such thing of Calistenes, Aristotle doth deny. 1 Probably which should be inserted before is. 2 ' Being of beings, pity me.' 3 Somewhat equivalent to the Force of certain raodera philosophers. * ' God, the Best and Greatest' * sithence — since. fi Callisthenes was a pupil and relation of Aristotle, and rendered himself so obnoxious to Alexander by his arrogance and independence, that he was accused of being privy to a plot to assassinate the king. 46 THE ENGLISH DRAMATISTS. Alex. Well, Aristotle, kindred may blind thee, and affection me ; but in kings' causes I will not stand to scholars' arguments. This meeting shall be for a commandment, that you all fre- quent my court, instruct the young with rules, confirm the old with reasons. Let your lives be answerable ^ to your learnings, lest my proceed- ings be contrary to my promises. Hep. You said you would ask every one of them a question, which yesternight none of us could answer. Alex. I will. Plato, of all beasts, which is the subtilest ? Plato. That which man hitherto never kneAv. Alex. Aristotle, how should a man be thought a god? Aris. In doing a thing impossible for a man. Alex. Crisippus, which was first, the day or the night ? Cris. The day, by a day. Alex. Indeed ! strange questions must have strange answers. Cleanthes, what say you, is life or death the stronger ? Cle. Life, that suffereth so many troubles. Alex. Crates, how long should a man live ? Crates. Till he think it better to die than to live. Alex. Anaxarchus, whether doth the sea or the earth bring forth most creatures ? Anax. The earth, for the sea is but a part of the earth, Alex. Hephestion, methinks they have answered all well, and in such questions I mean often to try them. Hep. It is better to have in your court a wise man than in your ground a golden mine. There- fore would I leave war to study wisdom, were J Alexander. Alex. So would I, were I Hephestion. But come, let us go and give release, as I promised, to our Theban thrall.2 [^Exeunt. Plato. Thou art fortunate, Aristotle, that Alex- ander is thy scholar. Aris. And all you happy, that he is your sove- reign. Cris. I could like the man well, if he could be contented to be a man. Aris. He seeketh to draw near to the gods in knowledge ; not to be a god. Enter Diogenes. Plato. Let us question a little with Diogenes, why he went not with us to Alexander. Dio- genes, thou didst forget thy duty, that thou went'st not with us to the king. Diog. And you your profession that went to the king. Plato. Thou takest as great pride to be peevish as others do glory to be virtuous. Diog. And thou as great honour, being a philo- sopher, to be thought court-like, as others shame that be courtiers to be accounted philosophers. Aris. These austere manners set aside; it is well known that thou didst counterfeit money. Diog. And thou thy manners, in that thou didst not counterfeit money. Aris. Thou hast reason to contemn the court, being, both in body and mind, too crooked for a courtier. Diog. As good be crooked, and endeavour to make myself straight from' the court; as be straight, and learn to be crooked at the court. 1 answerable to, &c.— in accordance with your teach- ings. 2 thrall — prisoner. Probably Timoclea is meant. 3 from — away from. Cris. Thou thinkest it a gx-ace to be opposite against Alexander. Diog. And thou to be jump* with Alexander. Anax. Let us go; for in contemning him, we shall better please him than in wondering at him. Aris. Plato, what doest thou think of Diogenes? Plato. To be Socrates, furious.^ Let us go. [Exeunt philosophen. ACT II.— SCENE L Diogenes, Psyllus, Manes, Granichus. Psylltis. Behold, Manes, where thy master is ; seeking either for bones for his dinner, or pins for his sleeves. I will go salute him. 3fanes. Do so ; but mum, not a word that you saw Manes. Gi^an. Then stay thou behind, and I will go with Psyllus. Psyllus. All hail, Diogenes, to your proper' person. Diog. All hate to thy peevish conditions. Gran. dog! Psyllus. What dost thou seek for here ? Diog. For a man and a beast. Gran. That is easy, without thy light, to be found. Be not all these men ? Diog. Called men. Gran. What beast is it thou lookest for ? Diog. The beast, my man. Manes. Psyllus. He is a beast indeed that v/ill serve thee,! Diog. So is he that begat thee. Gran. What wouldst thou do if thou shouldst find Manes ? Diog. Give him leave to do as he hath done before. Gran. What's that? Diog. To run away. Psyllus. Why, hast thou no need of Manes? Diog. It were a shame for Diogenes to have need of Manes, and for Manes to have no need of Diogenes. Gran. But put the case he were gone, wouldst thou entertain any of us two ? Diog. Upon condition. Psyllus. What? Diog. That you should tell me wherefore any of you both were good. Gran. Why, I am a scholar, and well seen * in philosophy. Psyllus. And I a 'prentice, and well seen in painting. Diog. Well then, Granichus, be thou a painter to amend thine ill face ; and thou, Psyllus, a philosopher, to correct thine evil manners. But who is that Manes? Manes. I care not who I were, so I were not Manes. Gran. You are taken tardy.' Psyllus. Let us slip aside, Granichus, to see the salutation between Manes and his master. Diog. Manes, thou knowest the last daj"- I threw away my dish, to drink in my hand, be- cause it was superfluous; now 1 am determined to put away my man, and serve myself; quia no7i egeo tui vel te.^ 1 to be jump — to agree ; Scotch ji7r)p, exact. 2 furious — raging, or intemperate. 3 proper— comely ; liandsome. * Well seen — liave good insight; well skilled. * ' You liave turned lazy.' ' ' For I don't want either thyself or thy service.' JOHN LILLY. 47 Manes. Master, you kuow a while ago I ran away ; so do I mean to do again, quia scio tibi non esse argentum.^ Diog. I know I have no money, neither will I have ever a man; for I was resolved long sithence^ to put away both my slaves, money and Manes. Manes. So was I determined to shake off Loth my dogs, hunger and Diogenes. Psyllus. sweet consent^ between a crowd* and a Jew's harp. Grail. Come, let us reconcile them. Psyllus. It shall not need, for this is their use, now do they dine one upon another. \_Exit Diogenes. Gran. How now, Manes, art thou gone from thy master.' Manes. No, I did but now bind myself to him. Psyllus. Why, you are at mortal jars. Manes. In faith no ; we brake a bitter jest one upon another. Gran. Why, thou art as dogged as he. Psyllus. My father knew them both little whelps. Manes. Well, I will hie me after my master. Gran. Why, is it supper time with Diogenes ? Manes. Ay, with him at all time when he hath meat. Psyllus. Why then, every man to his home ; and let us steal out again anon. Gran. Where shall we meet? Psyllus. Why, at Ala vendihili suspensa hxdera non est opus.^ Manes. Psyllus, habeo te loco parentis,^ thou blessest me. \_Exeunt. ACT II.— SCENE II. Alexander, Hephestion, Page, Diogenes, Apelles. Alex. Stand aside, sir boy, till you be called. Hephestion, how do you like the sweet face of Campaspe ? Hep. I cannot but commend the stout courage of Timoclea. Alex. Without doubt Campaspe had some great man to her father. Hep. You know Timoclea had Theagines to her brother. Alex. Timoclea still in thy mouth ! Art thou not in love ? Hep. Not I. Alex. Not with Timoclea you mean ; wherein you resemble the lapwing, who crieth most where her nest is not.? And so you lead me from espy- ing your love with Campaspe, you cry Timoclea. Hep. Could I as well subdue kingdoms as I can my thoughts, or were I as far from ambition as I am from love, all the world would account me as valiant in arms, as I know myself moderate in affection. Alex. Is love a vice? Hep. It is no virtue. 1 ' Because I know you've got no money.' 2 ' since.' 3 consent — hannony. * Crowd — a musical instrument like a fiddle, with six strings; Welsh crwth—a, bulge, a fiddle; Gael, emit— a bunch, fiddle. * Possibly this may be meant as an alehouse motto or sign; ala should be alx, and the literal translation is, 'There is no need of hanging ivy over saleable ale; ' or more freely rendered, ' Good wine needs no bush.' The ivy was sacred to Bacchus, and formerly used to be painted over tavern doors as a sign, as the spmce is in Germany at the present day. « ' I look upon you as my father.' ' Dodsley says that this simile perhaps occurs more frequently in our old writers than any other. Alex. Well, now shalt thou see what small difference I make between Alexander and He- phestion. And sith i thou hast been always par- taker of my triumphs, thou shalt be partaker of my torments. I love, Hephestion, I love ! I love Campaspe, a thing far unfit for a Macedonian, for a king, for Alexander. Why hangest thou down thy head, Hephestion ? Blushing to hear that which I am not ashamed to tell ? Hep. Might my words crave pardon and my counsel credit, I would both discharge the duty of a subject, for so I am, and the office of a friend, for so I will. Alex. Speak, Hephestion ; for whatsoever is spoken, Hephestion speaketh to Alexander. Hep. I cannot tell, Alexander, whether the re- port be more shameful to be heard, or the cause sorrowful to be believed ? What ! is the son of Philip, king of Macedon, become the subject of Campaspe, the captive of Thebes ? Is that mind, whose greatness the world could not contain, drawn within the compass of an idle alluring eye? Will you handle the spindle with Her- cules, 2 when you should shake the spear with Achilles ? Is the warlike sound of drum and trump turned to the soft noise of lyre and lute ? the neighing of barbed steeds, whose loudness filled the air with terror, and whose breaths dimmed the sun with smoke, converted to deli- cate tunes and amorous glances ? Alexander ! that soft and yielding mind should not be in him, whose hard and unconquered heart hath made so many yield. But you love,— ah grief! but whom ? Campaspe ? — ah shame ! a maid forsooth unknown, unnoble, and who can tell whether immodest? whose eyes are framed by art to enamour, and whose heart was made by nature to enchant. Ay, but she is beautiful ; yea, but ilot therefore chaste: ay, but she is comely in all parts of the body ; but she may be crooked in some part of the mind: ay, but she is wise; yea, but she is a woman: beauty is like the blackberry, which seemeth red, when it is not ripe, resembling precious stones that are polished with honey, which the smoother they look, the sooner they break. It is thought wonderfid among the sea-men, that Mugill,^ of all fishes the swiftest, is found in the belly of the Bret,* of all the slowest: and shall it not seem monstrous to wise men that the heart of the greatest con- queror of the world should be found in the hands of the weakest creature of nature? of a woman ? of a captive ? Hermyns * have fair skins, but foul livers ; sepulchres fresh colours, but rotten bones ; women fair faces, but false hearts. Eemember, Alexander, thou hast a camp to govern, not a chamber; fall not from the armour of Mars to the arms of Venus ; from the fiery assaults of war, to the maidenly slrirmishes of love ; from displaying the eagle in thine en- sign, to set down the sparrow. I sigh, Alex- ander, that where fortune could not conquer, folly should overcome. But behold all the per- fection that may be in Campaspe : a hair curling by nature, not art ; sweet, alluring eyes ; a fair face made in despite ^ of Venus, and a stately port in disdain of Juno ; a wit apt to conceive, and quick to answer ; a skin as soft as silk, and as 1 ' since.' 2 Hercules is said to have spun, and done other effemi- nate things, when living with Omphale. 2 Mugil — a Latin word, probably mullet. * Bret— tviY\)Qt or halibut ; the word is still used in some districts. 5 Hermyns — ermines. ^ in despite of— in defiance, in disdain of— in mockery or contempt. 48 THE ENGLISH DRAMATISTS, smooth as jet ; a long white hand, a fine little foot; to conclude, all parts answerable to' the best part ; what of this ? Though she have heavenly gifts, virtue and beauty, is she not of earthly inetal, flesh and blood ? Ton, Alexander, that would be a god, show yourself in this worse than a man, so soon to be both overseen and over- taken in a woman,2 whose false tears know their true times, whose smooth words wound deeper than sharp swords. There is no surfeit so dan- gerous as that of honey, nor any poison so deadly as that of love ; in the one physic cannot prevail, nor in the other counsel.' Alex. My case were Hght, Hephestion, and not worthy to be called love, if reason were a remedy, or sentences could salve, that sense cannot con- ceive. Little do you know, and therefore slightly do you regard the dead embers in a private per- son, or live coals in a great prince, whose passions and thoughts do as far exceed others in extremity as their callings do in majesty. An eclipse in the sun is more than the falling of a star : none can conceive the torments of a king, unless he be a king, whose desu-es are not inferior to their dignities. And then judge, Hephestion, if the agonies of love be dangerous in a subject, whether they be not more than deadly unto Alexander, whose deep and not -to -be -con- ceived sighs cleave the heart in shivers, whose wounded thoughts can neither be expressed nor endured. Cease then, Hephestion, with argu- ments to seek to refell* that which with their deity the gods cannot resist ; and let this sufiice to answer thee, that it is a king that loveth, and Alexander ; whose affections are not to be mea- sured by reason, being immortal ; nor, I fear me, to be borne, being intolerable. Hep. I must needs yield, when neither reason nor counsel can be heard. Alex. Yield, Hephestion, for Alexander doth love, and therefore must obtain. nep. Suppose she loves not you ; affection cometh not by appointment or birth ; and then, as good hated as enforced. Alex. I am a king, and will command. Hep. You may, to yield to lust by force ; but to consent to love by fear, you cannot. Alex. Why, what is that which Alexander may not conquer as he list ? Hep. Why, that which you say the gods can- not resist — love. Alex. I am a conqueror, she a captive ; I as fortunate as she fair. My greatness may answer her wants, and the gifts of my mind the modesty of hers. Is it not likely, then, that she should love 1 Is it not reasonable "i Hep. You say that in love there is no reason, and therefore there can be no likelihood. Alex. No more, Hej)hestion ; in this case I will use mine own counsel, and in all other thine ad- vice. Thou may'st be a good soldier, but never good lover. Calf my page. {Enter 'page.'\ Sirrah, go presently to Apelles, and will him to come to me without either delay or excuse. Page. I go. Alex. In the mean season,' to recreate my spirits, being so near, we will go see Diogenes. And see where his tub is. — Diogenes ! • answerable to — corresponding to. 2 overseen and overtaken in a teoman— tricked or de- ceived, and captivated or intoxicated by a woman. 3 Tills long liarangue is a fair example of the tedious and affected style of the author's Euphues. • ^e/e«— disprove or refute ; from Lat. refello, to dis- prove, from fallo, to deceive, and re, denoting an un- doing. • mean season— meantime. Diog. Whocalleth.' Alex. Alexander. How happened it that you would not come out of your tub to my palace ? Diog. Because it was as far from my tub to your palace, as from your palace to my tub. Alex. Why, then, dost thou o^tq no reverence to kings ? Diog. No. Alex. Why so ? Diog. Because they be no gods. Alex. They be gods of the earth. Diog. Yea, gods of earth. Alex. Plato is not of thy mind. Diog. I am glad of it. Alex. Why? Diog. Because I would have none of Diogenes* iHind, but Diogenes. Alex. If Alexander have anything that may pleasure Diogenes, let me know, and take it. Diog. Then take not from me that you cannot give me — the light of the world. Alex. What dost thou want ? Diog. Nothing that you have. Alex. I have the world at command. Diog. And I in contempt Alex. Thou shalt live no longer than I will. Diog. But I shall die whether you will or no. Alex. How should one learn to be content ? Diog. Unlearn to covet. Alex. Hephestion, were I not Alexander, I would wish to be Diogenes. Hep. He is dogged, but discreet ; I cannot tell how 1 sharp, with a kind of sweetness ; full of wit, yet too wayward. Alex. Diogenes, when I come this way again. I will both see thee and confer with thee. Diog. Do. Alex. But here cometh Apelles. — How now, Apelles ; is Venus' face yet finished ? Apel. Not yet ; beauty is not so soon shadowed,^ whose perfection cometh not within the compass either of cunning or of colour. Alex. Well, let it rest unperfect, and come you with me, where I wiU show you that finished by nature that you have been trifling about by art. ACT III.— SCENE I. Apelles, Casipaspe, Apel. Lady, I doubt whether there be any colour so fresh, that may shadow a countenance so fair. Camp. Sir, I had thought you had been com- manded to paint with your hand, not to glose * with your tongue ; but, as I have heard, it is the hardest thing in painting to set down a hard favour,* which maketh you to despair of my face ; and then shall you have as great thanks to spare your labour as to discredit your art. Apel. Mistress, you neither differ from your- self nor your sex ; for, knowing your own per- fection, you seem to dispraise that which men most commend, draAving them by that mean into an admiration, where, feeding themselves, they fall into an ecstasy ; your modesty being the cause of the one, and of the other, your affections.* Camp. I am too young to understand your » In some editions there is a semicolon after how. 2 s/iadowed— depicted. 3 (^tose— flatter ; generally said to be allied to gloss-^ explain; but in meaning rather connected with gloss— glitter; polish. * favour— look or countenance. » Dodsley (ed. 1744) xQaids perfections. JOHN LILLY. 49 epeech, though old enough to withstand youi- device. You have been so long used to colours, you can do nothing but colour. Apel. Indeed, the colours I see I fear will alter the colours I have. But come, Madam, will you draw near.'* for Alexander will be here anon. Psyllus, stay you here at the window ; if any inquire for me, answer, Non luhet esse dorni.^ \_Exeunt. ACT III.— SCENE II. Psyllus, Manes. Psyllus. It is always my master's fashion, when any fair gentlewoman is to be drawn within, to make me to stay without. But if he should paint Jupiter like a bull, like a swan, like an eagle, then must Psyllus with one hand grind colours, a,nd with the other hold the candle. But let him alone ; the better he shadows ^ her face, the more will he burn his own heart. And now, if any man could meet with Manes, who, I dare say, looks as lean as if Diogenes dropped out of his nose — Manes. And here comes Manes, who hath as much meat in his maw as thou hast honesty in thy head. Psyllm. Then I hope thou art very hungry. Manes. They that know thee know that. Psyllus. But dost thou not remember that we have certain liquor to confer' withal ? Manes. Ay, but I have business; I must go cry a thing. Psyllus. Why, what hast thou lost ? Manes. That which I never had — my dinner ! Psyllm. Foul lubber, wilt thou cry for thy dinner ? Manes. I mean, I must ciy ; not as one would say cry,^ but cry, that is, make a noise. Psyllus. Why, fool, that is all one ; for if thou cry, thou must needs make^ a noise. Manes. Boy, thou art deceived : Cry hath divers significations, and may be alluded* to many tilings; knave but to one, and can be applied but to thee. Psyllus. Profound Manes ! Manes. We Cynics are mad fellows ; didst thou not find I did quip ® thee 1 Psyllus. No, verily ; why, what's a quip ? Manes. We great girders^ call it a short saying of a sharp wit, with a bitter sense in a sweet word. Psyllus. How canst thou thus divine, divide, define, dispute, and all on the sudden ? Manes. Wit will have his swing; I am be- witched, inspired, inflamed, infected. Psyllus. Well, then will I not tempt thy gibing spirit. Manes. Do not, Psyllus, for thy dull head will be but a grindstone for my quick wit, which, if thou whet with overth warts, ^ periisti, actum est de te.^ I have drawn blood at one's brains with a bitter bob.** Psyllus. Let me cross myself, for I die if I cross thee. • ' It is not his pleasure to be at home.' 2 ' depicts.' 3 con/er— discuss, consume. * cry— weep. * alluded- -referred. 6 quip— t&\mt or retort upon. A quip is a cut or smart stroke of wit ; it is allied to whip. ' girder — one wlio girds, gibes, or uses sarcasm. To gird is to cut with a switch, to lash with wit. Anglo- Sa.xon, geard, gird, and German, gerte — switch or rod. 8 overthwarts — cross or sharp answers. 9 ' Thou art done for, it's all over with thee.' 10 j)ob—ta\XD.t or scoff. Manes. Let me do my business ; I myself am afraid lest my wit should wax warm, and then must it needs consume some hard head with fine and pretty jests. I am sometimes in such a vein, that for want of some dull pate to work on, I begin to gird' myself. Psyllus. The gods shield me from such a fine fellow, whose words melt wits like wax ! Manes. Well, then, let us to the matter. In faith, my master meaneth to-morrow to fly. Psyllus. It is a jest. Manes. Is it a jest to fly? should'st thou fly so soon, thou should'st repent it in earnest. Psyllus. Well, I wUl be the cryer. Manes and Psyllus, one after another. Oyez, Oyez, Oyez, 2 All manner of men, women, or chil- dren, that will come to-morrow into the market- place, between the hours of nine and ten, shall see Diogenes, the Cynic, fly. Psyllus. I do not think he will fly. Manes. Tush ! say fly.' Psyllus. Fly. Manes. Now let us go, for I will not see him again till midnight. I have a back way into his tub. Psyllus. Which way callest thou the back way, when every way is open } Manes. I mean to come in at his back. Psyllus. Well, let us go away, that we may return speedily. ' [Exeunt. ACT III.— SCENE IIL Apelles, Caivipaspe. Apel. I shall never draw your eyes well, be- cause they blind mine. Camp. Why then, paint me without eyes, for I am blind. Apel. Were you ever shadowed before of any ? Camp. No. And would you could so now shadow me that I might not be perceived of any. Apel. It were pity but that so absolute* a face should furnish Venus's temple amongst these pictures. Camp. What are these pictures ? Apel. This is Laeda, whom Jove deceived in likeness of a swan. Camp. A fair woman, but a foul deceit. Apel. This is Alcmena, unto whom Jupiter came in shape of Amphitrion, her husband, and begat Hercules. Camp. A famous son, but an infamous fact. Apel. He might do it because he was a god. Camp. Nay, therefore it was evU done, because he was a god. Apel. This is Danae, into whose prison Jupiter drizzled a golden shower, and obtained his desire. Camp. What gold can make one yield to desire.' Apel. This is Europa, whom Jupiter ravished ; this Antiopa. Camp. Were all the gods like this Jupiter.' Apel. There were many gods in this like Jupiter. Camp. I think, in those days, love was well ratified* among men on earth, when lust was so full authorized by the gods in heaven. Apel. Nay, you may imagine there were women 1 grircJ— jibe at. - Oyez is French— hear ye ; the form used at the com- mencement of public proclamations. ' Psyllus is no doubt supposed to have hesitated to say/y. * absolute — perfect ' ratified — established. 50 THE ENGLISH DRAMATISTS, passing amiable -when there were gods exceeding amorous. Camp. "Were -women never so fair, men ■would be false. Apel. Were women never so false, men would be fond. Camp. "WTiat counterfeit^ is this, Apelles? Apel. This is Venus, the goddess of love. Camp. "What ! be there also loving goddesses ? Apel. This is she that hath power to command the very affections of the heart. Camp. How is she hired ? by prayer, by sacri- fice, or bribes ? Apel. By prayer, sacrifice, and bribes. Camp. What prayer ? Apel. Vows irrevocable. Camp. What sacrifice ? Apel. Hearts ever sighing ; never dissembling. Camp. What bribes ? Apel. Koses and kisses. But were you never in love ? Camp. Xo ; nor love in me. Apel. Then have you injured many! Camp. How so ? Apel. Because you have been loved of many. Camp. Flattered, perchance, of some. Apel. It is not possible that a face so fair and a wit so sharp, both without comparison, should not be apt to love. Camp. If you begin to tip your tongue with cunning, I pray dip your pencil in colours, and faU to that you must do, not that you would do. ACT III.— SCENE IV, Clttus, Parmexio, Alexander, Hephestiox, Ckysus, Diogenes, Apelles, Cajmpaspe. Clytiis. Parmenio, I cannot tell how it cometh to pass that in Alexander, now-a-days, there groweth an unpatient kind of life : in the morn- ing he is melancholy, at noon solemn, at all times either more sour or severe than he was accustomed. Par. In king's causes, I rather love to doubt than conjecture, and think it better to be ignorant than inquisitive. They have long ears and sti'etched arms in whose head suspicion is a proof, and to be accused is to be condemned. Clytus. Yet, between us, there can be no danger to find out the cause, for that there is no malice to withstand it. It may be an unquenchable thirst of conquering maketh him unquiet: it is not unlikely his long ease hath altered his humour. That he should be in love, it is not impossible. Par. In love, Clytus ? No, no ; it is as far from his thought as treason in ours : he, whose ever waking eye, whose never tired heart, whose body patient of labour, whose mind unsatiable of vic- tory hath always been noted, cannot so soon be melted into the weak conceits of love, Ax-istotle told him there were many worlds, and that he hath not conquered one that gapeth for all, gaUeth Alexander. But here he cometh. Alex. Parmenio and Clytus, I would have you both ready to go into Persia about an ambassage,^ no less profitable to me than to yourselves honour- able. Clytus. We are ready at all commands ; wishing nothing else but continually to be commanded. Alex. Well, then, withdraw yourselves till I have further considered of this matter. [Exeunt Clytus and Parmenio.'] Now we will see how 1 counterfeit — picture or portrait. • etbout an ambassage — on an embassy, or business. Apelles goeth forward : I doubt me that nature hath overcome art, and her countenance his cunning. Hep. You love, and therefore think anything, Alex. But not so far in love with Campaspe as with Bucephalus, if occasion serve either of con- flict or of conquest Hep. Occasion cannot want, if will do not. Behold all Persia swelling in the pride of their own power; the Scythians careless what courage or fortune can do ; the Egyptians dreaming m the soothsayings of their augurs, and gaping over the smoke of their beasts' entrails.^ All "these, Alexander, are to be subdued, if that world be not slipped out of your head, which you have sworn to conquer with that hand. Alex. I confess the labour's fit for Alexander, and yet recreation necessary among so many assaults, bloody wounds, intolerable troubles: give me leave a little, if not to sit, yet to breathe. And doubt not but Alexander can, when he will, throw affections as far from him as he can cowardice. But behold Diogenes talking with one at his tub ! Crysus. One penny, Diogenes ; I am a Cynic. Diog. He made thee a beggar that first gave thee anything. Crysus. W^hy, if thou wilt give nothing, nobody will give thee. Diog. I want nothing till the springs dry and the earth perish. Crysus. 1 gather for the gods. Diog. And I care not for those gods which want money. Crysus. Thou art not a right Cynic that wilt give nothing. Diog. Thou art not, that wilt beg anything. Crysus. Alexander, King Alexander, give a poor Cynic a groat. Alex. It is not for a king to give a groat. Crysus. Then give me a talent. Alex. It is not for a beggar to ask a talent. Away. — Apelles ! Apel. Here. Alex. Now gentlewoman? doth your beauty put the painter to his trump .'^ Camp. Yes, my lord, seeing so disordered a countenance, he feareth he shall shadow' a de- formed counterfeit. Alex. Would he could colour the life with the feature.* And, methinketh, Apelles, were you as cunning as report saith you are, you may paint flowers as well with sweet smells as fresh colours, observing in your mixture such things as should draw near to their savours. Apel. Your Majesty must know it is no less hard to paint savours than virtues : colours can neither speak nor think. Alex. Where do you first begin when you draw any picture ? Apel. The proportion of the face in just com- pass, as I can. Alex. I would begin with the eye, as a light to all the rest. Apel. If you wiU paint, as you are a king, your Majesty may begin where you please ; but, as you would be a painter, you must begin with the face. Alex. Aurelius would in one hour colour fovur faces. AjJel. I marvel in half an hour he did not four. ^ Alluding to the method of augury by inspection of the entrails of animals. 2 put the painter to his trump — make him play his trump card, i.e. put him to his last push. * shadoiD. &c. — paint an untrue likeness. * colour the life, But how have I done here ? Apel. Like a king. Alex. I think so ; but nothing more unlike a painter. Well, Apelles, Campaspe is finished as I wish; dismiss her, and bring presently her counterfeit after me. Apel. I will. Alex. Now, Hephestion, doth not this matter cotton" as I would ? Campaspe looketh plea- santly ; liberty will increase her beauty, and my love shall advance her honour. Hep. I will not contrary^^ you, your Majesty ; for time must wear out that^^ love hath wrought, and reason wean what appetite nursed. Alex. How stately she passe th by, yet how soberly ! a sweet consent'* in her countenance •with a chaste disdain !'^ desire mingled with coy- * homely — commonly, poorly. 2 cunning — skilful. ' shield — guard against, forbid. * Alluding to the fashion, preralent in the time of Lilly, of dyeing the hair yellow, which was the natural colour of Queen Elizabeth's. Yellow hair was much admired in ancient times, and has come into fashion again at the present day. 5 It was fashionable in Elizabeth's time to arrange flower-beds in intricate knotted convolutions. * consent — harmony. ' Charcoal was used as a pencil to outline a picture. * Things to be regarded or attended to. ' setting of a battle — arranging an army for battle. ^^ blotting of a hoard — painting a picture. In old times, pictures were painted on boards or panels. 11 cotton — succeed, or goon prosperously; probably from the finishing of cloth, which, when it cottons, or rises to a nap, is quite complete. 12 'contradict.' 13 ^Aa<— what. 1* consent — acquiescence, or compliance. 1* disdain— "^vido, or reserve. . ness ! and I cannot tell how to term it, a curst* yielding modesty ! Hep. Let her pass. Alex. So she shall for the fairest on the earth. [Exeunt. ACT IIL— SCENE V. PsYLLUs, Maxes, Apelles. Psyllus. I shall be hanged for tarrying so long. Manes. I pray God my master be not flown before I come. Psyllus. Away, Manes ! my master doth come. Apel. Where have you been all this while .? Psyllus. Nowhere but here. Apel. Who was here dthens my coming 7 Psyllus. Nobody. Apel. Ungracious wag, I perceive you have been aloitering. Was Alexander nobody ? Psyllus. He was a king; I meant no mean body. Apel. I will cudgel your body for it, and then will I say it was no body, because it was no honest body. Away in. [Exit Pstjllus.'] Un- fortunate Apelles, and therefore unfortunate because Apelles! Hast thou, by drawing her beauty, brought to pass that thou canst scarce draw thine own breath ? And by so much the more hast thou increased thy care, by how much the more thou hast showed thy cunning : was it not sufficient to behold the fire, and warm thee, but Avith Satyrus thou must kiss the fire and burn thee? Campaspe, Campaspe, art must yield to nature, reason to appetite, wisdom to affection ! Could Pygmalion 2 entreat by prayer to have his ivory turned into flesh ? and cannot Apelles obtain by plaints^ to have the picture of his love changed to life ? Is painting so far inferior to carving ? or dost thou, Venus, more delight to be hewed with chisels then shadowed with colours? What Pygmalion, or what Pyrgoteles,* or Avhat Lysippus is he, that ever made thy face so fair, or spread thy fame so far as I ? unless Venus, in this thou enviest mine art, that in colouring my sweet Campaspe, I have left no place by cunning to make thee so ami- able. But alas ! she is the paramour to a prince : Alexander, the monarch of the earth, hath both her body and affection. For what is it that kings cannot obtain by prayers, threats, and promises? Will not she think it better to sit under a cloth of estate^ like a queen, than in a poor shop like a housewife? and esteem it sweeter to be the concubine of the lord of the world, than spouse to a painter in Athens? Yes, yes, Apelles, thou mayest swim against the stream with the crab, and feed against the wind with the deer, and peck against the steel with the cockatrice :® stars are to be looked at, not reached 1 Dodsley (ed. 1744) reads courteous: yielding modesty, i.e. modesty without prudery. * Pygmalion, a king of Cyrus, is said to have fallen in love with the ivory image of a maiden, which he himself had made; and, on Venus ansAvering his prayer to breathe life into it, married the maiden. ' plaints — lamentations, or violent entreaties. * Pyrgoteles was a celebrated gem engraver, and Ly- sippus a distinguished statuary of ancient Greece, botll contemporaries of Apelles. 5 The canopy placed over royalty. 6 cockatrice — from cock, and Anglo-Saxon ater, a snake ; supposed to be produced from a cock's egg, with the head of a cock and body of a sei-pent. It Avas said to have a deadly eye, and many fables are told about it. It was supposed to have the power to pierce steel by pecking at it. 52 THE ENGLISH DRAMATISTS, at; princes to be yielded unto, not contended with ; Campaspe to be honoured, not obtained ; to be painted, not possessed of thee. O fair face ! unhappy hand ! and why didst thou draw it so fair a face ? beautiful countenance ! the express image of Venus, but somewhat fresher : the only pattern of that eternity which Jupiter, dreaming asleep, could not conceive again wak- ing. Blush, Venus, for I am ashamed to end thee. Now must I paint things unpossible for mine art, but agreeable with my affections : deep and hollow sighs, sad and melancholy thoughts, wounds and slaughters of conceits, a life posting to death, a death galloping from life, a wavering constancy, an unsettled resolution, and what not, Apelles ? And what but Apelles ? But as they that are shaken with a fever are to be warmed with clothes, not groans, and as he that melteth in a consumption is to be recured by colices,! not conceits; so the feeding canker of my care, the never-dying worm of my heart, is to be killed by counsel, not cries ; by applying of remedies, not by replying of reasons. And sith in cases desperate there must be used medicines that are extreme, I will hazard that little life that is left, to restore the greater part that is lost ; and this shall be my first practice, for wit must work where authority is not. As soon as Alexan- der hath viewed this portraiture, I will, by device, give it a blemish, that by that means she may come again to my shop; and then as good it were to utter my love, and die with denial, as conceal it, and live in despair. SoxG BY Apelles. Cupid and my Campaspe play'd At cards for kisses, Cupid paid; He stakes his quiver, bow, and arrows, His mother's doves, and team of sparrows ; Loses them too ; then down he throws The coral of his lip, the rose Growing on's cheek (but none knows how), With these, the crystal of his brow, And then the dimple of his chin : All these did my Campaspe win. At last he set^ her both his eyes ; She won, and Cupid blind did rise. love ! has she done this to thee ? What shall, alas ! become of me ? ACT IV.— SCENE I. SOLINUS, PSYLLUS, GkANICHUS, MANES, Diogenes, Pofulus (the People). Sol. This is the place, the day, the time, that Diogenes hath appointed to fly. Psyllus. I will not lose the flight of so fair a fowl as Diogenes is, though my master cudgel my no body, as he threatened. Gran. What, Psyllus, will the beast wag his wings to-day ? Psyllus. We shall hear ; for here cometh Manes. — Manes, will it be ? Manes. Be ! he were best be as cunning as a bee, or else shortly he will not be at all. Grmi. How is he furnished to fly? hath he feathers ? Manes. Thou art an ass ! capons, geese, and ' colices. Cullis was a strong broth for invalids, strained or gelatinized. French coulis — a brotli, or jelly, from couhr, to strain. It was most elaborately prepared, containing, among many other more edible and savoury ingredients, pieces of gold, ambergris, and dust of oriental pearls. * Set as a stake. owls have feathers. He hath found Dedalus' old waxen wings, and hath been piecing them this month, he is so broad in the shoulders. O, you shall see him cut the air even like a tortoise. Sol. Methinks so wise a man should not be so mad ; his body must needs be too heavy. Manes. Why, he hath eaten nothing this se-9 en- night but cork and feathers. Psyllus. Touch him, Manes. Manes. He is so light that he can scarce keep him from flying at midnight. Populus intrat (the Populace enters). Manes. See, they begin to flock; and behold, my master bustles himself to fly. Diog. You wicked and bewitched Athenians, whose bodies make the earth to groan, and whose breaths infect the air with stench. Come ye to see Diogenes fly ? Diogenes cometh to see you sink : yea, call me dog ; so I am, for I long to gnaw the bones in your skins. Ye temi me a hater of men : no, I am a hater of your manners. Your lives dissolute, not fearing death, wiU prove your deaths desperate, not hoping for life. What do you else in Athens but sleep in the day, and surfeit in the night: back-gods in the morning Avith pride, in the evening belly-gods with glut- tony ! You flatter kings, and" call them gods; speak truth of yourselves, and confess you are devils! From the bee you have taken not the honey, but the wax, to make your religion ; framing it to the time, not to the truth. Your filthy lust you colour under a courtly colour of love; injuries abroad under the title of policies at home ; and secret malice creepeth under the name of public justice. You have caused Alexander to dry up springs and plant vines, to sow rocket and weed endive, to shear sheep, and shrine^ foxes. All conscience is sealed at Athens. Swearing cometh of a hot mettle ; lying of a quick wit; flattery of a flowing tongue ; indecent talk of a merry disposition. All things are law- ful at Athens. Either you think there are no gods, or I must think ye are no men. You build as though you should live for ever, and surfeit as though you should die to-morrow. None teacheth true philosophy but Aristotle, because he was the king's schoolmaster! times! men ! corruption in manners ! Eemeraber that green grass must turn to dry hay. When you sleep, you are not sure to wake ; and when you rise, not certain to lie down. Look you never so high, your heads must lie level with your feet. Thus have I flown over your dis- ordered lives; and if you will not amend your manners, I will study to fly farther from you, that I may be nearer to honesty. Sol. Thou ravest, Diogenes, for thy life is different from thy words. Did not I see theo come out of a brothel house ? was it not a shame ? Diog. It was no shame to go out, but a shame to go in. Gran. It were a good deed, Manes, to beat thy master. Manes. You were as good eat my master. One ofthepeople. Hast thou made us all fools, and wilt thou not fly ? Diog. I tell thee, unless thou be honest, I will fly. 1 5/»rmc— enshrine or deify. ' He means,' says Nares, ' that the Athenians had occasioned Alexander to en- courage luxury in preference to utility, and the plunder of the innocent, while he exalted or deified the wicked; this he calls shearing,' &c. JOHN LILLY. 53 People. Dog ! dog ! take a bone ! Diog. Thy father need fear no dogs, but dogs thy father. People. We will tell Alexander that thou re- provest him behind his back. Diog. And I will tell him that you flatter him before his face. People. We will cause all the boys in the street to hiss at thee. Diog. Indeed, I think the Athenians have their children ready for any vice, because they be Athe- nians. Manes. Why, master, mean you not to fly ? Diog. No, Manes, not without wings. Manes. Everybody will account you a liar. Diog. No, I warrant you; for I will always say the Athenians are mischievous. Psyllus. 1 care not, it was sport enough for me to see these old huddles * hit home. Gi'an. Nor I. Psyllus. Come, let us go ! and hereafter, when I mean to rail upon any body openly, it shall be given out, I will fly. [^Exeunt. ACT IV.— SCENE II. Camp^spe, Apelles. Camp, {cilone.'] Campaspe, it is hard to judge whether thy choice be more unwise, or thy chance unfortunate. Dost thou prefer — but stay, utter not that in words which maketh thine ears to glow with thoughts. Tush ! better thy tongue wag, than thy heart break ! Hath a painter crept further into thy mind than a prince ? Apelles, than Alexander? Fond wench! the baseness of thy mind bewrays ^ the meanness of thy birth. But alas! affection is a fire, which kindleth as well in the bramble as in the oak ; and catcheth hold where it first lighteth, not where it may best burn. Larks that mount aloft in the air, build their nests below in the earth ; and women that cast their eyes upon kings, may place their hearts upon vassals. A needle will become thy fingers better than a lute, and a distaff is fitter for thy hand than a sceptre. Ants live safely till they have gotten wings, and juniper is not blown up till it hath gotten an high top. The mean estate is without care as long as it con- tinueth without pride. But here conieth Apelles, in whom I would there were the like affection. Apel. Gentlewoman, the misfortune I had with your picture will put you to some pains to sit again to be painted. Camp. It is small pains for me to sit still, but infinite for you to draw still. Apel. No, Madam. To paint Venus was a plea- sure ; but to shadow the sweet face of Campaspe, it is a heaven ! Camp. If your tongue were made of the same flesh that your heart is, your words would be as your thoughts are ; but such a common thing it is amongst you to commend, that oftentimes, for fashion's sake, you call them beautiful whom you know black. Apel. What might men do to be believed ? Camp. Whet their tongue on their hearts. Apel. So they do, and speak as they think. Camp. I would they did ! Apel. I would they did not I 1 huddle— 2l term of contempt applied to old decrepid persons; possibly from having their clothes huddled about them, or from being bent or huddled together with age. 2 bewrays — betrays. Camp. Why, would you have them dissemble ? Apel. Not in love, but their love.^ But will you give me leave to ask you a question without offence ? Camp. So that you will answer me another without excuse. Apel. Whom do you love best in the world ? Camp. He that made me last in the world. Apel. That was a god. Camp. I had thought it had been a man. But whom do you honour most, Apelles.' Apel. The thing that is likest you, Campaspe. Camp. My picture ? Apel. I dare not venture upon your person. But come, let us go in, for Alexander will think it long till we return. {Exeunt. ACT IV.— SCENE III. Clytus, Pakmenio. Chjtus. We hear nothing of our embassage ; 2 a colour^ belike to blear* our eyes, or tickle our ears, or inflame our hearts. But what doth Alex- ander in the mean season, but use for tantaras — sol, fa, la ; for his hard couch, down beds ; for his handful of water, his standing cup of wine ? Par. Clytus, I mislike this new delicacy and pleasing peace ; for what else do we see now than a kind of softness in every man's mind ; bees to make their hives in soldiers' helmets, our steeds furnished with foot-cloths of gold^ instead of saddles of steel ; more time to be required to scour the rust off our weapons, than there was wont to be in subduing the countries of our enemies. Sithence ^ Alexander fell from his hard armour to his soft robes, behold the face of his court: youths that were wont to carry devices of victory in their shields, engrave now posies 8 of love in their rings ; they that were accustomed on trotting horses to charge the enemy with a lance, now in easy coaches ride up and down to court ladies; instead of sword and target to hazard their lives, use pen and paper to paint their loves. Yea, such a fear and faintness is grown in coui't, that they wish rather to hear the blowing of a horn to hunt, than the sound of a trumpet to fight. O Philip, wert thou alive to see this alteration, — thy men turned to women, thy soldiers to lovers, gloves worn in velvet caps,^ instead of plumes in graven helmets, — thou would'st either die among them for sorrow, or confound them for anger. Clytus. Cease, Parmenio, lest, in speaking what becometh thee not, thou feel what liketh thee not. Truth is never without a scratch'd face, whose tongue, although it cannot be cut out, yet must it be tied up. Par. It grieveth me not a little for Hephestion, who thirsteth for honour, not ease ; but such is his fortune and nearness in friendship to Alex- ander, that he must lay a pillow under his head ^ This sentence may mean that there should be no dissembling in true love, but that there may be in men's love, which is false. '^ embassage — embassy. ^ colour belike — pretence likely. * blear our eyes — make our eyes water. * use for tantara, &c. — i.e., instead of listening to the sound of the war-trumpet, he now enjoys soft singing. ^ Housings of horses worn in times of peace. '^ Sithence — since. 8 A posy was a poetic motto or conceit inscribed on a ring. ^ Alluding to the custom of gallants wearing their mistress's glove in their cap as a favour. 54 THE ENGLISH DRAMATISTS. when he would put a target in his hand. But let us dra-w in, to see how well it becomes them to tread the measures in a dance, that were wont to set the order for a march. {Exeunt. ACT IV.— SCENE IV. Apelles, Campaspe. A'ptl. 1 have now, Campaspe, almost made an end. Camp. You told me, Apelles, you would never end. Apel. Never end my love; for it shall be eternal. Camp. That is, neither to have beginning nor ending. Apel. You are disposed to mistake; I hope you do not mistrust. Camp. What will you say if Alexander per- ceive your love ? Apel. I will say it is no treason to love. Camp. But how if he will not suffer thee to see my person ? ^ Apel. Then will I gaze continually on thy picture. Camp. That will not feed thy heai-t. Apel. Yet shall it fill mine eye. Besides, the sweet thoughts, the sure hopes, thy protested faith, will cause me to embrace thy shadow con- tinually in mine arms, of the which, by strong imagination, I will make a substance. Camp. Well, I must be gone ; but this assure yourself, that I had rather be in thy shop grind- ing colours, than in Alexander's court, following higher fortunes. {Campaspe alone.'] Foolish wench ! what hast thou done ? that, alas ! which cannot be undone, and therefore I fear me un- done. But content is such a life, I care not for abundance. Apelles, thy love cometh from the heart, but Alexander's from the mouth. The love of kings is like the blowing of winds, which whistle sometimes gently among the leaves, and straightways turn the trees up by the roots ; or fire, which warmeth afar off, and burneth near hand ; or the sea, which maketh men hoise ^ their sails in a flattering calm, and to cut their masts in a rough storm. They place affection by times, by policy, by appointment. If they frown, who dares call them unconstant ? if bewray secrets, who will term them untrue ? if fall to other loves, who trembles not, if he call them unfaithful .^ In kings there can be no love but to queens ; for as near must they meet in majesty as they do in affection. It is requisite to stand aloof from kings, love, Jove, and lightning. [Exit. ACT IV.— SCENE V. Apelles, Page. Apel. Now, Apelles, gather thy wits together. Campaspe is no less wise than fair ; thyself niust be no less cunning than faithful. It is no small matter to be rival with Alexander. Page. Apelles, you must come away quickly with the picture. The king thinketh that, now you have painted it, you play with it Apel. If I would play with pictures, I have enough at home. Page. None, perhaps, you like so well. Apel. It may be I have painted none so well. Aoise— hoist. Page. I have known many fairer faces. Apel. And I many better boys. [Exeunt. ACT v.— SCENE I. Diogenes, Sylvius, Perim, Milo, Trico, Manes. Syl. I have brought my sons, Diogenes, to be taught of thee. Diog. What can thy sons do ? Syl. You shall see their qualities. Dance, sirrah! [Then Perim danceth.] How like you this ? doth he well ? Biog. The better the worser. Syl. The music very good. Diog. The musicians very bad ; who only study to have their strings in tune, never framing their manners to order. Syl. Now shall you see the other. Tumble, sirrah ! {Milo tumbleth.'] How like you this ? why do you laugh ? I)iog. To see a wag, that was born to break his neck by destiny, to practise it by art. 3filo. This dog will bite me ; I will not be with him. Diog. Fear not, boy ; dogs eat no thistles. Perim. I marvel what dog thou art, if thou be a dog. Diog. When I am hungry, a mastiff ; and when my belly is full, a spaniel. Syl. Dost thou believe that there are any gods, that thou art so dogged ? Diog. I must needs believe there are gods, for I think thee an enemy to them. Syl. Why so.? Diog. Because thou hast taught one of thy sons to rule his legs, and not to follow learning; the other to bend his body every way, and his mind no way. Perim. Thou doest nothing but snarl and bark like a dog. Diog. It is the next' way to'drive away a thief. Syl. Now shall you hear the third, who sings like a nightingale. Diog. I care not, for I have a nightingale to sing herself. Syl. Sing, sirrah! [Trico singeth.'] Song. What bird so sings, yet so does wail? O 'tis the ravish'd nightingale. 'Jug, jug, jug, jug, tereu,' she cries, And still her woes at midnight rise. Brave prick-song! 2 who is't now we hear? None but the lark, so shrill and clear; How at heaven's gates she claps her wings, The morn not waking till she sings. Hark ! hark ! with what a pretty throat Poor robin redbreast tunes his note! Hark how the jolly cuckoos sing, ' Cuckoo!' to welcome in the spring; ' Cuckoo !' to welcome in the spring, Syl. Lo, Diogenes! I am sure thou canst not do so much. Diog. But there is never a thrush but can. Syl. What hast thou taught Manes, thy man ? Diog. To be as unlike as may be thy sons. ' next— nearest, i.e. soonest or readiest. 2 prick-song — music written down was so called, from the points or dots with which it is noted; hence the nightingale's song, being more regularly musical than any other, was often termed a prick-song. — Nakes. JOHN LILLY. 55 Manes. He hath taught me to fast, lie hard, and run away. Syl. How sayest thou, Perim, wilt thou be with him? Perim. I, so he will teach me first to run away. Diog. Thou needest not be taught, thy legs are so nimble. • Syl. How sayest thou, Milo, wilt thou be with him? Diog. Nay, hold your peace ; he shall not. Syl Why? Diog. There is not room enough for him and me to tumble both in one tub. Syl. Well, Diogenes, I perceive my sons brook not thy manners. Diog. I thought no less, when they knew my virtues. Syl. Farewell, Diogenes; thou neededst not have scraped roots ^ if thou wouldst have fol- lowed Alexander. Diog. Nor thou have followed Alexander if thou hadst scraped roots. [Exeunt, ACT v.— SCENE II. Apd. [alone.'] I fear me, Apelles, that thine eyes have blabbed that which thy tongue durst not. What little regard hadst thou, whilst Alexander viewed the counterfeit of Canipaspe, thou stoodest gazing on her countenance ! If he espy, or but suspect, thou must needs twice perish, with his hate and thine own love. Thy pale looks when he blushed, thy sad countenance when he smiled, thy sighs when he questioned, may breed in him a jealousy, perchance a frenzy. O love ! I never before knew what thou wert, and now hast thou made me that I know not what myself am ; only this I know, that I must endure intolerable passions ^ for unknown pleasures ! Dis- pute not the cause, wretch, but yield to it ; for better it is to melt with desire than wrestle with love. Cast thyself on thy carefuP bed; be con- tent to live unknown, and die unfound.* Campaspe! I have^painted thee in my heart: painted? nay, contrary to mine art, imprinted; and that in such deep characters, that nothing can raise it out, unless it rub my heart out. [Exit. ACT v.— SCENE III. MiLECTUS, Phrygius, Lais, Diogenes. Mil. It shall go hard, but this peace shall bring us some pleasure. Phry. Down with arms, and up with legs, this is a world for the nonce.* Lais. Sweet youths, if you knew what it were to save your sweet blood, you would not so foolishly go about to spend it. AVhat delight can there be in gashing, to make foul scars in fair faces, and crooked maims ^ in straight legs ? as though men, being born goodly ^ by nature, would of purpose become deformed by folly ; and all, forsooth, for a new-found term, called valiant, 1 Referring, no doubt, to the primitive way in -whicli Diogenes got his living. 2 passions — sufferings. 3 careful — full of care or sorroTiv ; sorrowful. •* unfound — undiscovered. * nonce — present occasion, immediate purpose: for the nonce— i.e., probably for then, or the once— for the enjoyment of the present hour. fi maim — defect, injury, lameness. ' goodly — good-looking, well made. — a word which breedeth more quarrels than the sense can commendation. Mil. It is true, Lais, a feather bed hath no fellow ; good drink makes good blood, and shall pelting ^ words spill it ? Phry. I mean to enjoy the world, and to di-aw out my life at the wire-drawer's, not to ciirtail it off at the cutler's. Lais. You may talk of war, speak big, conquer worlds with great words: but stay at home, where, instead of alarums you shall have dances; for hot battles with fierce men, gentle skirmishes with fair women. These pewter'^ coats can never sit so well as satin doublets. Believe me, you cannot conceive the pleasure of peace, unless you despise the rudeness of war. 3Iil. It is so. But see Diogenes prying over his tub — Diogenes, what sayest thou to such a morsel ? Diog. I say, I would spit it out of my moiith, because it should not poison my stomach. Phry. Thou speakest as thou art ; it is no meat for dogs. Diog. I am a dog ; and philosophy rates ' me from carrion. Lais. Uncivil wretch, whose manners are answerable* to thy calling, the time was thou wouldst have had my company, had it not been, as thou saidst, too dear. Diog. I remember there was a thing that I repented me of, and now thou hast told it ; in- deed, it was too dear of nothing, and thou dear to nobody. Lais. Down, villain ! or I will have thy head broken. 3Iil. Will you couch ? ' Phry. Avaunt, cur ! Come, sweet Lais, let us go to some place and possess peace. But first let us sing; there is more pleasure in tuning of a voice than in a volley of shot. Mil. Now let us make haste, lest Alexander find us here. [Exeu2it. ACT v.— SCENE IV. Alexander, Hephestion, Page, Diogenes, Apelles, Campaspe. Alex. Methinketh, Hephestion, you are more melancholy than you were accustomed; but, I perceive, it is all for Alexander. You can neither brook this peace nor my pleasure : be of good cheer ; though I wink, I sleep not. Hep. Melancholy I am not, nor well content ; for I know not how, there is such a rust crept into my bones with this long ease, that I fear I shall not scour it out with infinite labours. Alex. Yes, yes ; if all the travails of conquer- ing the world will set either thy body or mind in tune, we will undertake them. But what think you of Apelles ? Did ye ever see any so per- plexed? He neither answered directly to any question, nor looked stedfastly upon anything. 1 hold my life, the painter is in love. . Hep. It may be ; for commonly we see it in- cident^ in artificers to be enamoured of their own \vorks, as Archidamus of his wooden dove, 1 pelting— -paltry, and comes from the same root. 2 pewter coats — probably applied in jest to steel annour. » rate here probably means to ' call off,' a sense whidi it has still in the Kentish dialect. * answerable — suitable. ' couch — crouch, or lie down. * incident — falling to, happening. 56 THE ENGLISH DRAMATISTS, Pygmalion of his ivory image, Arachne of liis wooden swan ; especially painters, who, playing with their own conceits, now coveting to draw a glancing eye, then a rolling, now a winking, still mending it, never ending it, till they be caught with it; and then, poor souls, they kiss the colours with their lips, with which before they were loth to taint their fingers. Alex. I will find it out. Page, go speedily for Apelles ; will him to come hither ; and*^ when you Bee us earnestly in talk, suddenly cry out, A_pelles's shop is on fire! Page. It shall be done. Alex. Forget not your lesson. Ilep. I marvel what your device shall be. Alex. The event shall prove. Hep. I pity the poor painter, if he be in love. Alex. Pity him not, I pray thee ; that severe gravity set aside, what do you think of love ? Hep. As the Macedonians do of their herb beet, which, looking yellow in the ground, and black in the hand, think it better seen than touched. Alex. But what do you imagine it to be ? Hep. A word, by superstition thought a god, by use turned to an humour,^ by self-will made a flattering madness. Alex. You are too hard-hearted to think so of love. Let us go to Diogenes. — Diogenes, thou mayst think it somewhat that Alexander cometh to thee again so soon. Diog. If you come to learn, you could not come soon enough ; if to" laugh, you be come too soon. Hep. It would better become thee to be more courteous, and frame thyself to please. Diog. And you better to be less, if you durst displease. Alex. What dost thou think of the time we have here ? Diog. That we have little, and lose much. Alex. If one be sick, what wouldst thou have him do? Diog. Be sure that he make not his physician his heir. Alex. If thou mightest have thy will, how much ground would content thee ? Diog. As much as you in the end must be contented withal. Alex. What, a world .^ Diog. No, the length of my body. Alex. Hephestion, shall I be a little pleasant with him ? Hep. You may ; but he will be very perverse with you. Alex. It skills not,2 I cannot be angiy with him. — Diogenes, I pray thee, what dost^ thou think of love ? Diog. A little worser than I can of hate. Alex. And why ? Diog. Because it is better to hate the things which make to love, than to love the things which give occasion of hate. Alex. Why, be not women the best creatures in the world ? Diog. Next men and bees. Alex. What dost thou dislike chiefly in a woman ? Diog. One thing. Alex. What? Diog. That she is a woman. Alex. In mine opinion thou wert never born of a woman, that thou thinkest so hardly of women. * humour — caprice, temporary inclination or pro- pensity. * It skills no^— it matters not; makes no difference. Anglo-Saxon scylan — to distinguislL But now cometh Apelles, who, I am sure, is as far from thy thoughts as thou art from his cunning. Diogenes, I will have thy cabin removed nearer to my court, because I will be a philosopher. Diog. And when you have done so, I pray j'ou remove your court further from my cabin, be- cause I will not be a courtier. Alex. But here cometh' Apelles. — Apelles, what piece of work have you now in hand? Apel. None in hand, if it like your Majesty; but I am devising a platform ^ in my head. Alex. I think your hand put it in your head. Is it nothing about Venus ? Apel. No ; but something above Venus. Page. Apelles ! Apelles ! look about you, your shop is on fire ! Apel. Ay me! if the picture of Campaspe be burnt, I am undone ! Alex. Staj', Apelles, no haste : it is your heart is on fire, not your shop ; and if Campaspe hang there, I would she were burnt. But have you the picture of Campaspe ? Belike you love her well, that you care not though all be lost so she be safe. Apel. Not love her ; but your Majesty knows that painters in their last works are said to excel themselves, and in this I have so much pleased myself, that the shadow as much delighteth me being an artificer, ^ as the substance doth others that are amorous. Alex. You lay your colours grosly : ' though I could not paint in your shop, I can spy into your excuse. Be not ashamed, Apelles, it is a gentleman's sport to be in love. Call hither Campaspe. Methinks I might have been made privy to your affection ; though my counsel had not been necessary, yet my countenance might have been thought reqi;isite. But Apelles, for- sooth, loveth under hand, yea and under Alex- ander's nose, and— but I say no more. Apel. Apelles loveth not so : but he liveth to do as Alexander will. Alex.* Campaspe, here is news. Apelles is in love with you. Camp. It pleaseth your Majesty to say so. Alex. Hephestion, I will try her too. Cam- paspe, for the good qualities 1 know in Apelles, and the virtue I see in you, I am determined you shall enjoy one another. How say you, Cam- paspe ? would you say a.j ? Camp. Your handmaid must obey, if you com- mand. Alex. Think you not, Hephestion, that she would fain be commanded ? Hep. I am no thought-catcher, but I guess un- happily.* Alex. I will not enforce marriage, where I cannot compel love. Camp. But your Majesty may move a question, where you be willing to have a match. Alex. Believe me, Hephestion, these parties are agreed ; they would have me both priest and wit- ness. Apelles, take Campaspe; why move ye not ? Campaspe, take Apelles ; will it not be ? If you be ashamed one of the other, by my con- sent you shall never come together. But dis- semble not, Campaspe ; do you love Apelles ? i^Za(/V>rm— (literally) flat form, groundwork, or design drawn on a level surface ; here it means design, plan, or sketch. 2 arti^cer— artist. 3 That is, ' your attempt at deception is clumsy, and easily seen through.' * There should have been an Enter Campaspe here, and Enter Apelles above; but stage directions were seldom used by the earlier dramatists. * Mn/iai?/)iVj/— mischievously. JOHN LILLY. 57 Camp. Pardon, my lord, I love Apelles ! Alex. Apelles, it were a shame for you, being loved so openly of so fair a virgin, to say tlie contrary. Do you love Campaspe ? Apel. Only Campaspe ! Alex. Two loving worms, Hephestion! I per- ceive Alexander cannot subdue the affections of men, though he conquer their countries. Love falleth like a dew as well upon the low grass, as upon the high cedar. Sparks have their heat, ants their gall, flies their spleen. Well, enjoy one another; I give her thee frankly, Apelles. Thou shalt see that Alexander maketh but a toy of love, and leadeth affection in fetters; using fancy as a fool to make him sport, or a minstrel to make him merry. It is not the amorous glance of an eye can settle an idle thought in the heart ; no, no, it is children's game, a life for sempsters and scholars: the one, pricking in clouts, have nothing else to think on ; the other, picking fancies out of books, have little else to marvel at. Go, Apelles, take with ydU your Campaspe ; Alexander is cloyed with looking on that which thou wond'rest at. Apel. Thanks to your Majesty on bended knee, you have honoured Apelles. Camp. Thanks with bowed heart, you have blessed Campaspe. \_Exeunt. Alex. Page, go warn Clytus and Parmenio and the other lords to be in a readiness ; let the irumpet sound, strike up the drum, and I will presently into Persia. How now, Hephestion, is Alexander able to resist love as he list ? Hep. The conquering of Thebes was not so honourable as the subduing of these thoughts. Alex. It were a shame Alexander should desire to command the world, if he could not command himself. But come, let us go, I will xry whether I can better bear my hand with my heart, than I could with mine eye. And, good Hephestion, when all the world is won, and every country is thine and mine, either find me out another to subdue, or, on my word, I will fall in love. \_Exeunt. THE EPILOGUE AT THE BLACK- PRIARS. Where the rainbow toucheth the tree, no cater- pillars will hang on the leaves; where the glow-worm creepeth in the night, no adder will go in the day. We hope in the ears where our travails^ be lodged, no carping shall harbour in those tongues. Our exercises must be as your judgment is, resembling water, which is always of the same colour into what it runneth. In the Trojan horse lay couched soldiers, with children : » at75— labours ; work*. and in heaps of many words we fear divers unfit, among some allowable.^ But as Demosthenes, with often breathing ^ up the hill, amended his stammering; so we hope with sundry labours against the hair^ to correct our studies. If the tree be blasted that blossoms, the fault is in the wind, and not in the root ; and if our pastimes be misliked that have been allowed,* you must impute it to the malice of others, and not our endeavour. And so we rest in good case,* if you rest well content. THE EPILOGUE AT THE COUET. We cannot tell whether we are fallen among Diomedes's birds or his horses ; the one received some men with sweet notes, the other bit all men with sharp teeth. But as Homer's gods conveyed them into clouds whom they would have kept [ from curses; and as Venus, lest Adonis should be pricked with the stings of adders, covered his face with the wings of swans ; so we hope, being shielded with your Highness's countenance, we shall, though we hear the neighing, yet not feel the kicking of those jades ; and receive, though no praise (which we cannot deserve), yet a pardon, which in all humility we desire. As yet we cannot tell what we should term our labours, iron or bullion ; only it belougeth to your Ma- jesty to make them fit either for the forge or the mint; current by the stamp, or countei-feit by the anvil. For as nothing is to be called white, unless it had been named white by the first creator, so can there be nothing thought good in the opinion of others, unless it be christened good by the judgment of yourself. For our- selves again, we are like these torches of wax,^ of which, being in your Highness's hands, you may make doves or vultures, roses or nettles, laurel for a garland, or elder " for a disgrace. 1 aUowahle — passable; praiseworthj'. 2 We talk now-a-days of taking a breather, a climb or walk that tries the power of our lungs. 3 against the hair — against the grain. * a//owecf— approved ; praised. In this sense the word comes from Lat. laudo, to praise. 5 case — condition. 6 Alluding to the candles which lighted the hall in Greenwich, where the play was performed before Eliza- beth. ' The elder was regarded as a disgraced tree, because Judas was popularly supposed to have hanged himself on it. GEORGE PEELE [George Peele, a gentleman by birth, was born in Devonshire about 1558. He waa educated at Oxford, having been a member of Broadgate's Hall (nov*^ Pembroke College), probably taking his degree of Master of Arts in 1579. We are informed by Anthony a Wood that Peele * was esteemed a most noted poet in the University ; ' and Mr. Dyce thinks it probable that the Tale of Troy, which he published in 1589, and which he calls 'an old poem of mine own,' was written during his academic course. He repaired to London about 1580 ; there he no doubt passed most of the remainder of his life, figuring as one of the * authors by profession,' who formed so numerous a body during the reign of Elizabeth. He was on terms of intimacy with most of his contemporary brother-dramatists, and shared but too freely in the wild Bohemianism which characterized most of their lives. * Among the town wits of those days,' says Mr. Dyce, 'habits of debauchery were but too prevalent. Not a few of them hung loose upon society, now struggling with poverty, and "driven to extreme shifts, " and now, when successful plays or poems had put money in their purses, revelling in the pleasures of taverns and ordinaries, some of them terminating a career of folly by a miserable and untimely death. Peele, there is every reason to believe, mingled as eagerly as any of his contemporaries in the dissipations of London.' Peele must have been one of the most thriftless and dissipated of this mad crew ; and if we may believe the tract entitled Metric Conceited Jests of George Peele, he frequently resorted to the lowest and most rascally shifts to relieve his wretched poverty, and supply him with the means of dissipation. Mr. Dyce professes to believe that these stories are most of them fictitious, although he does not doubt the authenticity of some of them. But, making every allow- ance, we are afraid that he must be regarded as having been almost entirely destitute of honour, and even of common honesty. He appears for a time to have held the post of city poet, and devised several of the pageants which graced the inauguration of a new Lord Mayor. The date of Peele's death is not known, * This person, ' says Anthony a Wood, * was living, in his middle age, in the latter end of Queen Elizabeth ; but when or where he died I cannot tell.' He certainly died previous to 1598; for, in a book published in that year, we are told that his death was the result of disease caught by licentious indulgence. Perhaps, with the exception of Greene, Peele's life and death were more miserable, and his character certainly more contemptible, than those of any of the brilliant Bohemians with whom he mingled. Of Peele's dramatic works, Dyce thinks that not half has survived the ravages of time. The following are his dramas still extant : — The Arraignment of Paris: a Pastoral (printed 1584) ; The Famous Chronicle History of King Edward the First (1593), one of our most ancient ' Chronicle Histories, ' and deserving attention, Mr. Collier thinks, more on this account than because it possesses much merit as a theatrical production ; The Battle of Alcazar (1594), with much probability, ascribed to Peele ; Old Wives' Tale (1595) ; this is chiefly remarkable as containing the same story as that upon which Milton founded his mask of Comus. Warton has attempted to show that Milton derived the narra- tive and idea of his poem from Peele ; but, as Mr. Collier says, it yet remains to be seen whether they do not each make use of the same original narrative. David and Bethsdbz was first printed in 1599, but how much earlier it was written there is no means of ascer- taining. Besides these dramas, Peele wrote several poems and pageants. Collier's estimate of Peele as a dramatist appears to us to be just. 'When Thomas Nash, in 1587, gave 58 GEORGE PEELE. 59 Peele the praise of being primus verhorum artifier, he adopted a phrase which seems happily to describe the character of Peek's poetry : his genius was not bold and original, and he was wanting in the higher qualities of invention ; but he had an elegance of fancy, a grace- fulness of expression, and a melody of versification which, in the earlier part of his career, was scarcely approached.' The play, David and Bethsdbe, which we have selected as a specimen, is universally admitted to be his best. It is founded on a well-known incident in the life of King David, and is chiefly characterized by the smoothness of its language, occasional pathos and vigour of expression, and richness of imagery. There is not much of a plot, little art is displayed in the conduct of the story, and none of the characters can be said to be distinctly marked ; still, on the whole, it is pleasant and readable.] THE LOYE OF KING DAYID AND FAIR BETHSABE, WITH THE TRAGEDY OF ABSALON: AS IT HATH BEEF DIYERS TIMES PLAYED OX THE STAGE. WRITTEN BY GEORGE PEELE. London: Printed by Adam IsUp, 1599. PEOLOGUE. Of Israel's sweetest singer now I sing, His holy style and happy victories ; Whose Muse was dipt in that inspiring dew Archangels stilled ^ from the breath of Jove,'' Decking her temples with the glorious flowers Heavens rain'd on tops of Sion and Mount Sinai. Upon the bosom of his ivory lute The cherubims and angels laid their breasts ; And, when his consecrated fingers struck The golden wires of his ravishing harp, » itilkd—distmQa. * Jove — Jehovah. He gave alarm to the host of heaven, That, wing'd with lightning, break the clouds, and cast Their crystal armour at his conquering feet. Of this sweet poet, Jove's musician. And of his beauteous son, I press to sing. Then help, divine Adonai, to conduct Upon the wings of my well-temper'd verse The hearers' minds above the towers of heaven, And guide them so in this thrice-haughty flight, Their mounting feathers scorch not with the fire That none can temper but thy holy hand : To thee for succour flies my feeble Muse, And at thy feet her iron pen doth use. gramalis '§n$on'^. David. Amnon, Son of David hy Ahinoam. Chileab, Son of David by Abigail. Absalon, Son of David by Maacah. Adonia, Son of David by Hagyith. Salomon, Son of David by Bethsahe. T n ^ ' j-^-L -L ^ (Nephews of David., and JoAB,Capamofthehost] £^^^ ^j. j^,-^ ;-,^,^ Abisai, [to David, 1^ ^^^,^.J^ A A«A ^Nepheio of David, and Son of his sister AMASA, ^ Abigail; Captain ofthe host to Absalon. y (Nephew of David, and Son of his J 02, ADAB, -| j^^^^g,, Shimeah ; friend to Amnon. U TAs J Husband of Bethsabe, and a Warrior in ' \ Davids army. Nathan, a Prophet. Sadoc, High priest. Ahimaas, his Son. Abiathar, a Priest. Jonathan, his Son. AcHiTOPHEL, Chief Counsellor to Absalon. CUSAY. Ithay. Semei. Jethray. Hanon, King of Ammon. Machaas, King of Gath. Messenger, Soldiers, Shepherds, and Attendants. Thamar, Daughter of David by Maacah. Bethsabe, Wife of tirias. Woman of Thecoa. Concubines to David. Maid to Bethsabe. Chorus. 6o THE ENGLISH DRAMATISTS, The Prologue-speaker, before going out, draws a curtain and discovers Bethsabe, with her Maid, bathing over a spring. She sings, and David sits above viewing her. THE SOXG. Hot sun, cool fire, temper'd with sweet air, Black shade, fan' nurse, shadow my white hair : Shine, sun; burn, fire; breathe, air, and ease me; Black shade, fair nurse, shroud me, and please me : Shadow, my sweet nurse, keep me from burning; Make not my glad cause cause of [my] mom-ning. Let not my beauty's fire Inflame unstaid desire. Nor pierce any bright eye That wandereLh lightly. Beth. Come, gentle zephyr, trick'd with those perfumes That erst in Eden sweeten'd Adam's love, And stroke my bosom with thy silken fan. This shade, sun-proof, is yet no proof for thee ; Thy body, smoother than this waveless spring, And purer than the substance of the same. Can creep through that his lances cannot pierce. Thou, and thy sister, soft and sacred Air, Goddess of life, and governess of health, Keep every fountain fresh and arbour sweet. No bi'azen gate her passage can repulse, Nor bushy thicket bar thy subtle breath : Then deck thee with thy loose delightsome robes. And on thy wings bring delicate perfumes. To play the wanton with us through the leaves. Dav. What tunes, what words, what looks, what wonders pierce My soul, incensed i with a sudden fire ? What tree, what shade, what spring, what para- dise, Enjoys the beautj'- of so fair a dame ? Fair Eva, placed in perfect happiness, Lending her praise-notes to the liberal heavens. Struck with the accents of archangels' tunes, Wrought not more pleasure to her husband's thoughts Than this fair woman's words and notes to mine. May that sweet plain, that bears her pleasant weight. Be still enamell'd with discolour'd^ flowers; That precious fount bear sand of purest gold ; And, for the pebble, let the silver streams That pierce earth's bowels to maintain the source. Play upon rubies, sapphires, chrysolites ; The brims let be embraced with golden curls Of moss, that sleeps with sound the waters make, For joy to feed the fount with their recourse. Let all the grass that beautifies her bower Bear manna every morn instead of dew ; Or let the dew be sweeter far than that That hangs, like chains of pearl, on Hermon hill, Or balm which trickled from old Aaron's beard. — Cusay, come up, and serve thy lord the king. Enter Cusay, above. Cu. What service doth my lord the king com- mand ? Dav. See, Cusay, see the flower of Israel, The fairest daughter that obeys the king In all the land the Lord subdued to me ; Fairer than Isaac's lover at the well, Brighter than inside-bark of new-hewn cedar, Sweeter than flames of fine-perfum6d myrrh. And comelier than the silver clouds that dance On zephyr's wings before the King of Heaven ! Cu. Is it not Bethsabe the Hethite's wife, Urias, now at Eabbah siege with Joab ? 1 incensed — inflamed. 2 discoloured— v&riou&ly coloured. Dav. Go know, and bring her quickly to the king; Tell her, her graces have found grace with him. Cu. I will, my lord. [^Exit. Dav. Bright Bethsabe shall wash in David's bower, In water mix'd with purest almond-flower, And bathe her beauty in the milk of kids. Bright Bethsabe gives earth to my desires, Verdure to earth, and to that verdure flowers ; To flowers sweet odours, and to odours wings, That carry pleasures to the hearts of kings. Enter Cusay, beloio, to Bethsabe, she starting as something affright.^ Cu. Fair Bethsabe, the king of Israel From forth his princely tower hath seen thee bathe. And thy sweet graces have found grace with him. Come, then, and kneel unto him where he stands ; The king is gracious, and hath liberal hands. Beth. Ah ! what is Bethsabe to please the king ? Or what is David, that he should desire, For fickle beauty's sake, his servant's wife ? Cu. David, thou know'st, fair dame, is wise and just, Elected to the heart of Israel's God ; Then do not thou expostulate with him For any action that contents his soul. Beth. My lord the king, elect to God's own heart. Should not his gracious jealousy incense 2 Whose thoughts are chaste : I hate incontinence. Cu. Woman, thou wrong'st the king, and doubt'st his honour. Whose truth maintains the crown of Israel, Making him stay that bade me bring thee straight. Beth. The king's poor handmaid wiU obey my lord. Cu. Then come, and do thy duty to his grace, And do what seemeth favour in his sight. [Exit, below, with Bethsabe. Dav. Now comes my lover tripping like the roe, And brings my longings tangled in her hair. To joy 3 her love I'll build a kingly bower, Seated in hearing of a hundred streams, That, for their homage to her sovereign joys,* Shall, as the serpents fold into their nests In oblique turnings, wind their nimble waves About the circles of her curious walks. And with their murmur summon easeful sleep To lay his golden sceptx'e on her brows. — Open the doors, and entertain my love ; Open, I say, aud, as you open, sing — ' Welcome, fair Bethsabe, King David's darling !' Enter, above, Cusay with Bethsabe. Welcome, fair Bethsabe, King David's darling. Thy bones' fair covering, erst* discovered fair,® And all mine eyes with all thy beauties pierced ; As heaven's bright eye biims most when most he climbs The crooked zodiac with his fiery sphere. And shineth furthest from this earthly globe ; So, since tliy beauty scorch'd my conquer'd soul, I call'd thee nearer for my nearer cure. 1 i.e. ' somewhat afifrighted.' 2 incense— Mndle. Bethsabe no doubt here refers to her husband. 3 >y— enjoy. * Joys. Dyce thinks the sense seems to require ' charms.' * erst— hrst or formerly. 6 and all mine eyes. Mr. Dyce thinks a line has pro- bably dropt out here. GEORGE PEELE. 6i Beth. Too near, my lord, was your unarmed heart, When furthest off my hapless beauty pierced ; And would this dreary day had turu'd to night, Or that some pitchy cloud had cloak'd the sun. Before their lights had caus'd my lord to see His name disparag'd and my chastity ! Dav. My love, if want of love have left thy soul A sharper sense of honour than thy king (For love leads princes sometimes from their seats), As erst my heart was hurt, displeasing thee, So come and tasie thy ease with easing me. Beth. One medicine cannot heal our different harms. But rather make both rankle at the bone ; Then let the king be cunning in his cure, Lest flattering both, both perish in his hand. Dav. Leave it to me, my dearest Bethsabe, Wliose skill is conversant in deeper cures. — And, Cusay, haste thou to my servant Joab, Commanding him to send Urias home With all the speed can possibly be us'd. Cu. Cusay will fly about the king's desire. \_Exeunt. Enter Joab, Abisat, Urias, and others, with drum and ensign. Joab. Courage, ye mighty men of Israel, And charge your fatal instruments of war Upon the bosoms of proud Ammon's sons, That hath disguis'd your king's ambassadors. Cut half their beards and half their garments off, In spite of Israel and his daughters' sons ! Ye fight the holy battles of Jehovah, King David's God, and ours, and Jacob's God, That guides your weapons to their conquering strokes, Orders you»footsteps, and directs your thoughts To stratagems that harbour victory: He casts his sacred eyesight from on high, And sees your foes run seeking for their deaths. Laughing their labours and their hopes to scorn ; While 'twixt your bodies and their blunted swords He puts on armour of his honour's proof. And makes their weapons wound the senseless winds. Abis. Before this city Kabbah we will lie, And shoot forth shafts as thick and dangerous As was the hail that Moses mix'd with fire. And threw with fury round about the fields. Devouring Pharaoh's friends and Egypt's fruits. Ur. First, mighty captains, Joab and Abisai, Let us assault and scale this kingly tower, Where all their conduits and their fountains are ; Then we may easily take the city too. Joab. Well hath Urias counsell'd our attempts ; And as he spake us, so assault the tower : Let Hanon now, the king of Ammon's son, Eepulse our conquering passage if he dare. E?iter Haxox, Macha^vs, and others, upon the walls. Ha. What would the shepherd's-dogs of Israel Snatch from the mighty issue of King Ammon, The valiant Ammonites and haughty Syrians ? 'Tis not your late successive victories j Can make us yield, or quail our courages ; But if ye dare assay to scale this tower, Our angry swords shall smite ye to the ground, And venge^ our losses on your hateful lives. Joab. Hanon, thy father Nahas gave relief To holy David in his hapless exile. * venge—veveagG. Lived his fixed date, and died in peace ; But thou, instead of reaping his reward. Hast trod it under foot, and scorn'd our king ; Therefore thy days shall end with violence. And to our swords thy vital blood shall cleave. Mach. Hence, thou that bear'st poor Israel's shepherd's-hook, The proud lieutenant of that base-bom king, And keep within the compass of his fold ; For, if ye seek to feed on Ammon's fruits, And stray into the Syrians' fruitful meads, The mastiffs of our land shall worry ye. And pull the weesels' from your greedy throats. Abis. Who can endure these pagans' blas- phemies ? Ur. My soul repines at this disparagement. Joab. Assault, ye valiant men of David's host, And beat these railing dastards from their doors. Assault, and they win the toicer ; and then Joab speaks above. Thus have we won the tower, which we will keep, Maugre^ the sons of Ammon and of Syria. Enter Cusay, below. Cu. Where is Lord Joab, leader of the host ? Joab. Here is Lord Joab, leader of the host. Cusay, come up, for we have won the hold.' Cu. In happy hour, then, is Cusay come. Cl'say ^oes up. Joab. What news, then, brings Lord Cusay from the king ? Cu. His Majesty commands thee out of hand To send him home Urias from the wars. For matter of some service he should dp. Ur. 'Tis for no choler hath surprised the king, I hope, Lord Cusay, 'gainst his servant's truth? Cu. No ; rather to prefer Urias' truth. Joab. Here, take him with thee, then, and go in peace ; And tell my lord the king that I have fought Against the city Kabbah with success, And scaled where the royal palace is. The conduit-heads and all their sweetest springs: Then let him come in person to these walls, With all the soldiers he can bring besides, And take the city as his own exploit. Lest I surprise it, and the people give The glory of the conquest to my name. Cu. We ■will. Lord Joab; and great Israel's God Bless in thy hands the battles of our king ! Joab. Farewell, Urias ; haste away the king. Ur. As sure as Joab breathes a victor here, Urias will haste him and his own return. [Exeunt Cusay and Ukias. Abis. Let us descend, and ope the palace gate, Taking our soldiers in to keep the hold. Joab. Let us, Abisai : — and, ye sons of Judah, Be valiant, and maintain your victor)'. [Exewit. Enter Thamar. Tha. Whither, alas, ah ! whither shall I fly, With folded arms and all-amazed soul ? Cast as was Eva from that glorious soil (Where all delights sat .bating, wiug'd with thoughts, Keady to nestle in her naked breasts), To bare and barren vales with floods made waste. To desert woods, and hills with lightning scorch'd, 1 weesels — weasands, i.e. windpipes. 2 Maugr-e — in spite of. Freucli malgr4. 3 AoW— stronghold, or keep. 62 THE ENGLISH DRAMATISTS. With death, with shame, with hell, with horror sit; There will I wander from my father's face ; There Absalon, my brother Absalon, Sweet Absalon shall hear his sister mourn; There will I lure with my windy sighs Night-ravens and owls to rend my bloody side, Which with a rusty weapon I Avill wound. And make them passage to my panting heart. Why talk'st thou, wretch, and leav'st the deed undone ? Eend hair and garments, as thy heart is rent With inward fuiy of a thousand griefs. And scatter them by these unhallow'd doors, To figure Amnon's resting cruelty, And tragic spoil of Thamar's chastity. Erder Absalon. Ms. What causeth Thamar to exclaim so much? Tha. The cause that Thamar shameth to dis- close. Abs. Say; I thy brother will revenge that cause. Hath Amnon forced thee ? by David's hand. And by the covenant God hath made with him, Amnon shall bear his violence to hell ; Traitor to heaven, traitor to David's throne, Traitor to Absalon and Israel. This fact hath Jacob's ruler seen from heaven, And through a cloud of smoke and tower of fire. As he rides vaunting him upon the greens. Shall tear his chariot-wheels with violent winds, And throw his body in the bloody sea ; At him the thunder shall discharge his bolt ; And his fair spouse, with bright and fiery wings. Sit ever burning on his hateful bones : Myself, as swift as thunder or his spouse,' Will hunt occasion with a secret hate. To work false Amnon an ungracious end. — Go in, my sister ; rest thee in my house ; And God in time shall take this shame from thee. Tha. Nor God nor time will do that good for me. {Exit. Enter David with his train. Dav. My Absalon, what mak'st thou here alone. And bear'st such discontentment in thy brows ? Abs. Great cause hath Absalon to be displeas'd. And in his heart to shroud the wounds of wrath. Dav. 'Gainst whom should Absalon be thus displeas'd ? Abs. Gainst wicked Amnon, thy ungracious son. My brother and fair Thamar's by the king, My step-brother by mother and by kind : ^ He hath dishonour'd David's holiness. And fii'd a blot of lightness on his throne. Dav. Hath Amnon brought this evil on my house, And suffer'd sin to smite his father's bones ? Smite, David, deadlier than the voice of heaven. And let hate's fire be kindled in thy heart : Frame in the arches of thy angry brows. Making thy forehead, like a comet, shine. To force false Amnon ti'emble at thy looks. Sip , with his sevenfold cr ow n and purple robe, ]pegmSTIs trium ph^ in m^P":gpmy tnrona j. There si ts^e watc Eng with his hund red] eyes^ Our j dl£natnT gteslind our w an ton tJiOrtghtg^ '^"' And'lv'ilh his' baits, made of our f i-ail desires, Gives us the hook that hales our souls to hell : But with the spirit of my kingdom's God I'll thrust the flattering tyrant from his throne. * Kind—n&tuie. And scourge his bondslaves from my hallow'd court With rods of iron and thorns of sharpen'd steel. Then, Absalon, revenge not thou this sin; Leave it to me, and I will chasten Mm. Abs. I am content: then grant, my lord the king. Himself with all his other lords would come Up to my sheep-feast on the plain of Hazor. Dav. Nay, my fair son, myself ^vith all my lords Will bring thee too much charge ; yet some shall go. Abs. But let my lord the king himself take pains ; The time of year is pleasant for your grace, And gladsome summer in her shady robes. Crowned with roses and with painted flowers. With all her nymphs, shall entertain my lord, That, from the thicket of my verdant groves, Will sprinkle honey-dews about his breast. And cast sweet balm upon his kingly head : Then grant thy servant's boon, and go, my lord. Dav. Let it content my sweet son Absalon, That I may stay, and take my other lords. Abs. But shall thy best-beloved Amnon go ? Dav. What needeth it, that Amnon go with thee? Abs. Yet do thy son and servant so much grace. Dav. Amnon shall go, and all my other lords, Because I will give grace to Absalon. Enter Cusay and Urias, with others. Cu. Pleaseth my lord the king, his servant Joab Hath sent Urias from the Syi'ian wars. Dav. Welcome, Urias, from the Syrian wars. Welcome to David as his dearest lord. Ur. Thanks be to Israel's God and David's grace, Urias finds such greeting with the king. Dav. No other greeting shall Urias find As long as David sways th' elected seat And consecrated throne of Israel. TeU me, Urias, of my servant Joab ; Fights he with truth the battles of our God, And for the honour of the Lord's anointed? Ur. Thy servant Joab fights the chosen wars With truth, with honour, and with high success, And 'gainst the wicked king of Ammon's sons. Hath, by the finger of our sovereign's God, Besieg'd the city Rabbah, and achiev'd ^ The court of waters, where the conduits run, And all the Ammonites' delightsome springs ; Therefore he wisheth David's mightiness Should number out the host of Israel, And eome in person to the city Kabbah, That so her conquest may be made the king's, And Joab fight as his inferior. Dav. This hath not God and Joab's prowess done Without Urias' valour, I am sure. Who, since his true conversion from a Hethite To an adopted son of Israel, Hath fought like one whose arms were lift by heaven, And whose bright sword was edg'd with Israel's wrath. Go therefore home, Urias, take thy rest ; Visit thy wife and household with the joys A victor and a favourite of the king's Should exercise with honour after arms. U7\ Thy servant's bones are yet not half so craz'd. Nor constitute on such a sickly mould. » achiev'd— von, or reached. GEORGE PEELE. 63 That for so little service lie should faint, And seek, as cowards, refuge of his home : Nor are his thoughts so sensually stirr'd, To stay the arms with which the Lord would smite And* fill their circle with his conquer'd foes, For wanton bosom of a flattering wife. Dav. Urias hath a beauteous sober wife, Then go, Urias, solace in her love ; Whom God hath knit to thee, tremble to loose. Ur. The king is much too tender of my ease : The ark, and Israel, and Judah dwell In palaces and rich pavilions ; But Joab and his brother in the fields, Suffering the wrath of winter and the sun : And shall Urias (of more shame than they) Banquet, and loiter in the work of heaven ? As sure as thy soul doth live, my lord. Mine ears shall never lean to such delight, When holy labour calls me forth to fight. Dav. Then be it with Urias' manly heart As best his fame may shine in Israel. Ur. Thus shall Urias' heart be best content. Till thou dismiss me back to Joab's bands : This ground before the king my master's doors Shall be my couch, and this unwearied arm The proper pillow of a soldier's head ; [Lies down. For never will I lodge within my house. Till Joab triumph in my secret vows. Dav. Then fetch some flagons of our purest wine. That we may welcome home our hardy friend With full carouses to his fortunes past, And to the honours of his future arms ; Then wiU I send him back to Eabbah siege, And follow with the strength of Israel. Enter one with flagons of wine. Arise, Urias ; come and pledge the king. Ur. If David think me worthy such a grace, I will be bold and pledge my lord the king. [Rises. Dav. Absalon and Cusay both shall drink To good Urias and his happiness. Abs. We will, my lord, to please Urias' soul. Dav. I will begin, Urias, to thyself. And aU the treasure of the Ammonites, Which here I promise to impart to thee. And bind that promise with a full carouse. [Drinks. Ur. What seemeth pleasant in my sovereign's eyes. That shall Urias do till he be dead. Dav. Fill him the cup. [Urias drinlcs.']— Follow, ye lords that love Tour sovereign's health, and do as he hath done. Ahs. Ill may he thrive, or live in Israel, That loves not David, or denies his charge. — Urias, here is to Abisai's health. Lord Joab's brother and thy loving friend. [Drinlcs. Ur. I pledge Lord Absalon and Abisai's health. [Drinks. Cu. Here now, Urias, to the health of Joab, And to the pleasant journey we shall have When we return to mighty Kabbah siege. ^ [Drinks. Ur. Cusay, I pledge thee with all my' heart. — Give me some drink, ye servants of the king ; Give me my drink. [Drinks. Dav. Well done, my good Urias ! drink thy fill, That in thy fulness David may rejoice. Ur. I will, my Lord. Ahs. Now, Lord Urias, one carouse to mo. Ur. No, sir, I'll drink to the king ; Tour father is a better man than you. Dav. Do so, Urias ; I will pledge thee straight Ur. 1 will indeed, my lord and sovereign ; I'll once in my days be so bold. Dav. Fill him his glass. Ur. Fill me my glass. Dav. Quickly, I say. Ur. Quickly, I say. — Here, my lord, by your favour now I drink to you. [Drinks. Dav. I pledge thee, good Urias, presently. [Drinks. Ahs. Here, then, Urias, once again for me. And to the health of David's children. [Drinks. Ur. David's children ! Ahs. Ay, David's children: wilt thou pledge me, man ? Ur. Pledge me, man ? Ahs. Pledge me, I say, or else thou lov'st us not. Ur. What, do you talk 7 do you talk ? I'll no more ; I'll lie down here. Dav. Eather, Urias, go thou home and sleep. Ur. 0, ho, sir ! would you make me break my sentence? [Lies doxon.'] Home, sir ! no, indeed, sir : I'll sleep upon mine arm, like a soldier ; sleep like a man as long as I live in Israel. Dav. [aside.'] If naught will serve to save hia wife's renown, I'll send him with a letter unto Joab To put him in the forefront of the wars. That so my purposes may take effect. — Help him in, sirs. [Exeunt David and Absalon. Cu. Come rise, Urias ; get thee in and sleep. Ur. I will not go home, sir ; that's flat. Cu. Then come and rest thee upon David's bed. Ur. On afore, my lords, on afore. [Exeunt. Enter Chorus. Chorus. O proud revolt of a presumptuous man, Laying his bridle in the neck of sin, Eeady to bear him past his grave to hell ! Like as the fatal raven, that in his voice Carries the dreadful summons of our deaths, Flies by the fair Arabian spiceries. Her pleasant gardens and delightsome parks. Seeming to curse them with his hoarse exclaims, And yet doth stoop with hungry violence Upon a piece of hateful carrion ; So wretched man, displeas'd with those delights Would yield a quickening savour to his soul, Pursues with eager and unstanched thirst The greedy longings of his loathsome flesh. If holy David so shook hands with sin, What shall our baser spirits glory in ? This kingly giving lust her rein Pursues the sequel with a greater ill. Urias in the forefront of the wars Is murdered by the hateful heathens' sword, And David joys his too dear Bethsabe. Suppose this past, and that the child is born, Whose death the prophet solemnly doth mourn. [Exit. Enter Bethsabe toith her Maid. Beth. Mourn, Bethsabe, bewail thy foolishness, Thy sin, thy shame, the sorrow of thy soul : Sin, shame, and sorrow swarm about thy soul ; And, in the gates and entrance of my heart, Sadness, with wreathed arms, hangs her complaint. No comfort from the ten-string'd instrument, The tinkling cymbal, or the ivory lute; Nor doth the sound of David's kingly harp Make glad the broken heart of Bethsabe : Jerusalem is fill'd with thy complaint, And in the streets of Sion sits thy grief. The babe is sick, sick to the death, I fear. The fruit that sprung from thee to David's house; Nor may the pot of honey and of oil 64 THE ENGLISH DRAMA TISTS. Glad David or his handmaid's countenance. Urias — wo is me to think hereon ! For who is it among the sons of men That saith not to my soul, ' The king hath sinn'd ; David hath done amiss, and Bethsabe Laid snares of death unto Urias' life ? ' My sweet Urias, fall'n into the pit Art thou, and gone even to the gates of hell For Bethsabe, that wouldst not shroud her shame. Oh, what.is it to serve the lust of kings ! How lion-like they rage when we resist! But, Bethsabe, in humbleness attend The grace that God will to his handmaid send. \_Exeunt. Enter David in his gown, walking sadly; Servants attending. Dav. [aside.'\ The babe is sick, and sad is David's heart. To see the guiltless bear the guilty's pain. David, hang up thy harp ; hang down thy head ; And dash thy ivory lute against the stones. The dew, that on the hill of Hermon falls. Rains not on Sion's tops and lofty towers ; The plains of Gath and Askaron rejoice, And David's thoughts are spent in pensiveness : The babe is sick, sweet babe, that Bethsabe With woman's pain brought forth to Israel. Enter Nathan. But what saith Nathan to his lord the king ? Na, Thus Nathan saith unto his loi'd the king. There were two men both dwellers in one town : The one was mighty, and exceeding rich In oxen, sheep, and cattle of the field ; The other poor, having nor ox, nor calf, Nor other cattle, save one little lamb Which he had bought and nourish'd by the hand ; And it grew up, and fed with him and his. And eat and drank as he and his were wont^ And in his bosom slept, and was to him As was his daughter or his dearest child. There came a stranger to this wealthy man ; And he refus'd and spar'd to take his own, Or of his store to dress or make him meat. But took the poor man's sheep, partly, poor man's store, ^ And dress'd it for this stranger in his house. What, tell me, shall be done to him for this ? Dav. Now, as the Lord doth live, this wicked man Is judg'd and shall become the child of death ; Fourfold to the poor man shall he restore, That without mercy took his lamb away. Na. Thou art the man ; and thou hast judg^ thyself. David, thus saith the Lord thy God by me: I thee anointed king in Israel, And sav'd thee from the tyranny of Saul ; Thy master's house I gave thee to possess ; His wives into thy bosom did I give, And Judah and Jerusalem withal ; And might, thou know'st, if this had been too small. Have given thee more : Wherefore, then, hast thou gone so far astray. And hast done evil, and sinned in my sight ? Urias thou hast killed with the sword ; Yea, with the sword of the uncircumcis'd Thou hast him slain : wherefoi-e, from this day forth. The sword shall never go from thee and thine ; For thou hast ta'en this Hethite's wife to thee : Wherefore, behold, I will, saith Jacob's God, * But took the poor man's sfieep, partly, poor man's store Some conuption or omission here. In thine own house stir evil up to thee ; Yea, I before thy face will take thy vnyes, And give them to thy neighbour to possess : This shall be done to David in the day. That Israel openly may see thy shame. £>av. Nathan, I have against the Lord, I have, Sinned ; Oh, sinned grievously ! and, lo, From heaven's throne doth David throw himself, And groan and grovel to the gates of hell ! [Falls down. Na. [raising him.] David, stand up: thus saith the Lord by me,: David the king shall live, for he hath seen The true repentant sorrow of thy heart; But, for thou hast in this misdeed of thine Stirr'd up the enemies of Israel To triumph, and blaspheme the God of Hosts, And say, he set a wicked man to reign Over his loved people and his tribes, — The child shall surely die, that erst was born, His mother's sin, his kingly father's scorn.' [Exit. Dav. How just is Jacob's God in all his works ! But must it die that David loveth so ? Oh, that the Mighty One of Israel Nill2 change his doom, and says the babe must die! ^Fourn, Israel, and weep in Sion-gates ; Wither, ye cedar-trees of Lebanon ; Ye sprouting almonds, with your flowering tops, Droop down, and drench in Hebron's fearful streams : The babe must die that was to David born. His mother s sin, his kingly father's scorn. [Sits sadly. Enter Cusay. First Serv. What tidings bringeth Cusay to the king ? Cu. To thee, the servant of King David's court. This bringeth Cusay, as the prophet spake ; The Lord hath surely stricken to the death The child new-born by that Urias' wife. That by the sons of Ammon erst was slain. First Serv. Cusay, be still ; the king is vex^d sore: How shall he speed that brings this tidings first. When, while the child was yet alive, we spake. And David's heart would not be comforted ? Dav. Yea, David's heart will not be comforted! What murmur ye, the servants of the king ? What tidings telleth Cusay to the king ? Sa}', Cusay, lives the child, or is he dead ? Cu. The child is dead, that of Urias' wife David begat. Dav. Urias' wife, say'st thou ? The child is dead, then ceaseth David's shamo : Fetch me to eat, and give me wine to drink ; Water to wash, and oil to clear my looks ; Bring down your shalms, ^ your cymbals, and your pipes ; Let David's harp and lute, his hand and voice. Give laud to him that loveth Israel, And sing his praise that shendeth* David's fame, That put away his sin from out his sight. And sent his shame into the streets of Gath. Bring ye to me the mother of the babe, That I may wipe the tears from off her face, And give her comfort with this hand of mine. And de'ck fair Bethsabe with ornaments, 1 scorn — disgrace ; reproach. 2 ym—yfiw not. 3 A kind of pipe like a hautboy; properly shawm. German schalmei, hautboy ; probably connected with French chalumeau, pipe, reed ; Latin, calamus, a reed. < shendeth — defendeth here, though shend properly— injure, reproach. Anglo-Saxon, scandu, scandal. That she may bear to me another son, That may be lov^d of the Lord of Hosts ; For where he is, of force must David go, But never may he come where David is. They bring in icater, wine, and oil. Music and a banquet ; and enter Bethsabe. Fair Bethsabe, sit thou, and sigh no more : — And sing and play, you servants of the king : Now sleepeth David's sorrow with the dead. And Bethsabe liveth to Israel. They use all solemnities together, and sing, ^x. Now arms and warlike engines for assault Px-epare at once, ye men of Israel, Ye men of Judah and Jerusalem, That Eabbah may be taken by the king. Lest it be called after Joab's name. Nor David's glory shine in Sion streets. To Eabbah marcheth David with his men, To chastise Ammon and the wicked ones. [Exeunt. Enter Absalon with several others. Abs. Set up your mules, and give them well to eat, And let us meet our brothers at the feast. Accursed is the master of this feast, Dishonour of the house of Israel, His sister's slander, and his mother's shame : Shame be his share that could such ill contrive. But may his wickedness find just reward! Therefore doth Absalon conspire with you, That Amnon die what time he sits to eat ; For in the holy temple have I sworn Wreak 1 of his villany in Thamai''s rape. And here he comes : bespeak him gently all. Whose death is deeply graved in my heart. Enter AivixoN, Adoxia, and Joxadab. Am. Our shearers are not far from hence, I wot; And Amnon to you all his brethren Giveth such welcome as our fathers erst Were wont in Judah and Jerusalem ; — But, specially. Lord Absalon, to thee, The honour of thy house and pi'ogeny : Sit down and dine with me. King David's son, Thou fair young man, whose hairs shine in mine eye Like golden wires of David's ivory lute. Abs. Amnon, where be thy shearers and thy men. That we may pour in plenty of thy wines, And eat thy goats'-milk, and rejoice with thee ? Am. Here cometh Amnon's shearers and his men: — Absalon, sit and rejoice with me. . Enter a company q/'Shepherds, who dance and sing. Drink, Absalon, in praise of Israel; Welcome to Amnon's fields from David's court, Abs. \ stabbing Amnon.] Die with thy draught ; » perfsh, and die accurs'd ; Dishonour to the honour of us all ; Die for the villany to Thamar done, Unworthy thou to be King David's son ! [Exit with others. Jonad. Oh, what hath Absalon for Thamar done, Murder'd his brother, great King David's son ! Ad. Kun, Jonadab, away, and make it known What cruelty this Absalon hath shown. Amnon, thy brother Adonia shall 1 TFreai— vengeance. Bury thy body 'mong the dead men's bones ; And we will malie complaint to Israel Of Amnon's death, and pride of Absalon, [Exeunt. Enter David, Joab, Abtsai, Cusay, and others, with drum and ensign against Eabbah. Dav. This is the town of the uncircumcis'd, The city of the kingdom, this is it, Eabbah, where wicked Hanon sitteth king. Despoil this king, this Hanon, of his crown ; Unpeople Eabbah and the streets thereof ; For in their blood, and slaughter of the slain, Lieth the honour of King David's line. Joab, Abisai, and the rest of you. Fight ye this day for great Jerusalem. Enter Hanon and others on the walls. Joab. And see where Hanon shows him on the walls ; Why, then, do we forbear to give assault, That Israel may, as it is promised, Subdue the daughters of the Gentiles' tribes ? All this must be perfonn'd by David's hand, Dav. Hark to me, Hanon, and remember well : As sure as He doth live that kept my host, What time our young men, by the pool of Gibeon, Went forth against the strength of Isboseth, And twelve to twelve did with their weapons play; So sure art thou and thy men of war To feel the sword of Israel this day. Because thou hast defied Jacob's God, And suffer'd Eabbah with the Philistine To rail upon the tribe of Benjamin, Ha. Hark, man : as sure as Saul thy master fell. And gor'd his sides upon the mountain-tops, And Jonathan, Abinadab, and Melchisua, Water'd the dales and deeps of Askaron With bloody streams, that from Gilboa ran In channels through the wilderness of Ziph, What time the sword of the uncircumcis'd Was drunken with the blood of Israel ; So sure shall David perish with his men Under the walls of Eabbah, Hanon's town. Joab. Hanon, the God of Israel hath said, David the king shall wear that crown of thine, That weighs a talent of the finest gold, And triumph in the spoil of Hanon's town. When Israel shall hale thy people hence. And turn them to the tile-kiln, man and child, And put them under harrows made of iron. And hew their bones with axes, and their limbs With iron swords divide and tear in twain, Hanon, this shall be done to thee and thine, Because thou hast defied Israel. — To arms, to arms, that Eabbah feel revenge. And Hanon's town become King David's spoil ! Alaimm, excursions, assault; exeunt. Then the trumpets sound, and re-enter David with Hanon's crown, Joab, etc. Dav. Now clattering arms and wrathful storms of war Have thunder'd over Eabbah's razed towers ; The AvreakfuP ire of great Jehovah's arm. That for his people made the gates to rend, And cloth'd the cherubims in fiery coats To fight against the wicked Hanon's town. Pay thanks, ye men of Judah, to the King, The God of Sion and Jerusalem, That hath exalted Israel to this. And crownfed David with this diadem. ^ tcreai/j(Z— vengeful. 66 EARL Y DRAMA TISTS. Joab. Beauteous and bright is lie among the tribes ; As when the sun,^ attir'd in glistering robe, Comes dancing from his oriental gate, And bridegroom-like hurls through the gloomy air His radiant beams, such doth King David show, Crown'd with the honour of his enemies' town, Shining in riches like the firmament, The starry vault that overhangs the earth : So looketh David, king of Israel. Abis. Joab, why doth not David mount his throne. Whom Heaven hath beautified with Hanon's crown ? Sound trumpets, shalms, and instruments of IDraise, To Jacob's God for David's victory. Enter Jonadab. Jonad. "Why doth the king of Israel rejoice ? Why sitteth David crown'd with Eabbah's rule ? Behold, there hath great heaviness befall'n In Amnon's fields by Absalon's misdeed ; And Amnon's shearers and their feast of mirth, Absalon hath o'erturnfed with his sword ; Nor liveth any of King David's sons To bring this bitter tidings to the king. Dav. Ay me, how soon are David's triumphs dash'd! How suddenly declineth David's pride ! As doth the daylight settle in the west, So dim is David's glory and his gite.^ Die, David ; for to thee is left no seed That may revive thy name in Israel. Jonad. In Israel is left of David's seed. Comfort your lord, you servants of the king. — Behold, thy sons return in mourning weeds. And only Amnon Absalon hath slain. Enter Adonia with other Sons 0/ David. Dav. Welcome, my sons ; dearer to me you are Than is this golden crown or Hanon's spoil. Oh, tell me, then, tell me, my sons, I say, How cometh it to pass that Absalon Hath slain his brother Amnon with the sword 7 Ad. Thy sons, king, went up to Anmon's fields, To feast with him and eat his bread and oil ; And Absalon upon his mule doth come, And to his men he saith, ' When Amnon's heart Is merry and secure, then strike him dead. Because he forced Thamar shamefully. And hated her, and threw her forth his doors.' And this did he ; and they with him conspire, And kill thy son in wreak of Thamar's wrong. Dav. How long shall Judah and Jerusalem Complain, and water Sion with their tears? How long shall Israel lament in vain, And not a man among the mighty ones Will hear the sorrows of King David's heart ! Amnon, thy life was pleasing to thy lord. As to mine ears the music of my lute. 1 As when the sun,