The Dramatic Works of Roger Boyle, Earl of Orrery: Volume 2 The Dramatic Works of Roger Boyle, Earl of Orrery, Volume II [Reprint 2013 ed.] 9780674733916, 9780674730236

Citation preview

THE

DRAMATIC ROGER

WORKS

BOYLE

VOLUME I I

OF

LONDON : H U M P H R E Y M I L F O R D OXFORD UNIVERSITY

PRESS

THE D R A M A T I C W O R K S OF

ROGER B O Y L E E A R L OF O R R E R Y EDITED BY

WILLIAM SMITH CLARK, II VOLUME II

CAMBRIDGE · MASSACHUSETTS

HARVARD U N I V E R S I T Y P R E S S 1937

COPYRIGHT,

1937

BY THF. P R E S I D E N T AND FELLOWS OF HARVARD C O L L E G E

P U B L I S H E D WITH T H E AID OF T H E CHARLES PHELPS T A F T FUND U N I V E R S I T Y OF CINCINNATI

P R I N T E D AT T H E HARVARD U N I V E R S I T Y CAMBRIDGE, M A S S . , U . S . A .

PRESS

CONTENTS V O L U M E

II

M R . ANTHONY

515

H E R O D THE G R E A T

585

T H E T R A G E D Y OR ZOROASTRES

643

T H E T R A G E D Y OF K I N G S A U L

701

EXPLANATORY NOTES

765

TEXTUAL NOTES

825

APPENDICES

947

A.

NOTES

ON R O G E R

BOYLE, FIRST

EARL

OF

ORRERY,

BY

JOHN B O Y L E , F I F T H E A R L OF O R R E R Y

949

B.

B I B L I O G R A P H Y OF O R R E R Y ' S D R A M A T I C W O R K S

.

.

.

954

C.

M A N U S C R I P T S OF O R R E R Y ' S D R A M A T I C W O R K S

.

.

.

963

ILLUSTRATIONS VOLUME

II

ROGER B O Y L E , E A R L OF O R R E R Y

Frontispiece

A reproduction of the frontispiece portrait to the first volume of The Dramatic Works of Roger Boyle, Earl of Orrery (1739). FACSIMILE T I T L E - P A G E TO M R . ANTHONY ( 1 6 9 0 ) FACSIMILE T I T L E - P A G E TO HEROD THE G R E A T ( 1 6 9 3 )

514 .

.

T I T L E - P A G E TO THE T R A G E D Y OF ZOROASTRES

.

584 642

A type facsimile of the title-page to Sloane Ms. 1828. FACSIMILE T I T L E - P A G E TO THE T R A G E D Y OF K I N G SAUL ( 1 7 0 3 )

700

j /·..

"

O · IVÍ E . D χ %ι -. " * • " • * ' ' ι - ·.,

As iris A C T E D by Their •

I

"

Majefty's Servants. 1 1

Nevar before Printed

*

j

1—

Written . Bythe Right Honourable the Earl of O R.R. E\

- Γί-'τ1«*1**

*

. . . .

-

'

'

'

—

Ucens'd,

Auguß

'

ρ

L

0

27.

J. ¥τφτί

—

Ν

S

V

0

Ni

*

m .

m

i^m - i

Printed for fames Knapton, at the Crown in St. J ékf Church-yard. M DC XC *

'

Tatis

Mr.

Anthony

EDITOR'S

PREFACE

SOURCES. The plot of Mr. Anthony reveals no situations or characters so distinctive or remarkable as to suggest Orrery's borrowing from any particular literary source. The intrigue connected with the matrimonial alliances of the two pairs of young ladies certainly is of the most conventional sort. The scheme of catching the old knight in a compromising position in order to win his consent to the proposed alliances was a dramatic device common in pre-Restoration plays. The fustian, distortion, and bravado in the speech of Anthony especially are a modification and variation of the linguistic traits already depicted by Orrery in the character of Guzman. The mock trial of Sir Timothy in the last scene is presumably a burlesque of the conduct of the more extreme and austere Puritan presbyters, whose severe tactics Orrery had ample opportunity to observe during his service under the Cromwellian government. The whole action of the play is quite plainly indicated to transpire in the period of the Commonwealth. In Act 1,1. 211, occurs a reference to the Protector as the existing ruler. STAGE HISTORY. D o w n e s 1 reports the performance of Mr.

An-

thony by the Duke's company with a sparsity of comment that would imply the production to have been very unimpressive : . . . my Lord Orrery Writ Two Comedies: the first call'd Gusman: the other, Mr. Anthony. Gusman took very well, the other but indifferent. There being an odd sort of Duel in it, between Mr. Nokes and Mr. Angel, both Comicks meeting in the Field to fight, one came Arm'd with a Blunderbus, the other with a Bow and Arrows.

Though the farcical duel in Act III between Anthony and Cudden was sufficiently striking to be remembered through the years, the veteran prompter's memory failed him in regard to the details. As a matter of fact, it was Anthony (i.e. Nokes) who was armed with a bow and arrows, while Cudden (i.e. Angel) carried two cudgels, not a blunderbus! There is no definite record of the date or place of Mr. Anthony's production. The one important clue is to be found in the list of actors given by the 1690 quarto. Therein appears the name " M r . Hains," i.e. Joseph Haynes, the famous actor. Now Haynes was 1

Roscius A nglicanus, 28.

5I6

DRAMATIC

WORKS

OF

ROGER

BOYLE

normally a member of the King's company, but at one time, after he had affronted Hart, the manager of the Theatre Royal, by a most distasteful act of buffoonery, he joined the Duke's players temporarily. His connection with the latter troupe could not have been of long duration, for his name does not appear in the role of any play acted by the Duke's company except Mr. Anthony. According to the 1672 text of The Rehearsal Haynes is called in at the very close of the play to execute a dance, since dancing was his particular forte. If this text of The Rehearsal be the same as that of the original production (and there is no reason to doubt the fact), Haynes must have been acting at the King's house in December, 1671. Early in July, 1672, The Citizen turrid Gentleman was performed by the Duke's players at Dorset Garden, probably for the first time.2 Haynes was then a member of that troupe and took the part of the French tutor, if Downes' statement be correct.3 About November, 1672, a new play, The Assignation, was presented by the King's company at Lincoln's Inn Fields.4 Haynes, an expert also in speaking prologues, played that role for The Assignation. It is therefore clear that by November he must have resumed his connection with the King's players. Indeed he may have rejoined them before the end of the summer, for the 1672 quarto of The Citizen turn'd Gentleman, licensed on August 9 to be printed, lists Angel as the French tutor. In view of Haynes' part in the play, the production of Mr. Anthony must then have occurred at Dorset Garden between January and July, 1672.5 A quite different version of Mr. Anthony's, stage history is offered by John Boyle, fifth Earl of Orrery, who fifty years later wrote some private notes on his great-grandfather's plays. Of Mr. Anthony he says: "Master Anthony too, the sequel of Guzman, was after Lord Orrery's Death brought upon the Stage, but being disrelish'd by the Audience appear'd only one night. It is probable the Author had not supervised and corrected it sufficiently before he died." Though it does not seem at all likely, because of the play's original ill-success on the boards, there may have been a revival performance of Mr. Anthony after Orrery's death in 1679. Since, however, John Boyle is completely ignorant of the play's history previous to 1679, his sources of information upon the subject could not have been especially authentic or extensive. His remarks are quite likely to be based upon garbled family tradition or youthful imagination.6 3 Op. cit., 4 Nicoli, op. cit., 359. A Hist, of Rest. Drama (Nicoli), 309. 32. ' Cf. Genest (I, 129), "Nearly certain that the play came out in the season of 1671-2." Nicoli, op. cit., 245, says "c. 1671 at L. I. F . " β See appendix for the complete transcript of John Boyle's notes. 2

Drammatis

Personae

Sir Timothy. Mr. Anthony, Sir Timothy's son. Mr. Plot, a gallant. Mr. Art, a gallant. Pedagog, Mr. Anthony's tutor. Mr. Cudden, Sir Timothy's nephew. Trick, a servant. Sir Timothy's Lady. Mrs. Philadelphia, Sir Timothy's ward. Mrs. Isabella, sister of Mrs. Philadelphia. Mrs. Betty, niece of Sir Timothy's Lady. Mrs. Nan, sister of Mrs. Betty. Goody Winifred, Sir Timothy's housekeeper.

Mr. Mr. Mr. Mr. Mr. Mr.

Nokes. Hains. Batterton. Underhil. Angel. Samford.

Mrs. Jennings. Mrs. Batterton. Mrs. Long. Mrs. Norris.

Prologue He who comes hither with design to hiss, And with a Bum reverst to whisper Miss, To comb a Perriwigg, or to show gay Cloaths, Or to vent Antick nonsence with new Oaths, Our Poet welcomes as the Muses Friend, For he'll by Irony each Play commend: Next these, we welcome such as briskly Dine, At Lambs, at Lockits, or with Shateline: Swell'd with Pottage, or the Burgundian Grape, They hither come, to take a kindly Nap. In these our Author don't conceive much harm, For they pay well and keep our Benches warm. And tho' scarce half awake some Plays they Dam, They'll doe't by whole-sale, not by Ounce and Dram. But when fierce Criticks get 'em in their view, Th'are Crustier than Spaniards in Peru : They wrack each line, and every word unknit, As if they'd find a way to Cramp all Wit. They are the Terrour of all adventurers here, The very objects of their hate and fear; And like rude Common-wealths they still are knit, 'Gainst English Plays, the Monarchies of Wit. They invade Poetick licence, and still rail At Plays to which in Duty they shou'd veil. Yet still they infest this Coast to fish for Jests, To suppliment their Wits at City feasts: Thus much for Criticks; to the more generous Wit Our Author frankly does each Scene submit, And begs your kind alliance to engage Those Lawless Interlopers of the Stage.

Mr.

Anthony A C T I.

[The] SCENE a Chamber [in Sir Timothy's House,] in which Mr. Anthony is dressing himself. Enter Mr. Pedagogg. PED. ANT. PED. ANT.

PED. ANT.

PED.

ANT. PED. ANT.

PED. ANT.

PED.

Good morrow, Mr. Anthony. Who is that? Mr. Pedagog, my Reverend School-master? The very same: Bless me! Not ready yet? You must not be so slothful; Aurora is a Friend to the Muses. A Duce take her ! she's an Enemy to sleep ; I'll be sworn, Tutor, I think Cephalus is but a Platonick, else his Mistress wou'd lye longer in Bed with him, and would not come every Morning peeping into my Curtains. Ah, my Domine, should your Mistress serve you so — M y Mistriss — Alas, Mr. Anthony, my Books are my only Mistresses. B y this light then, I think you are a Platonick too; for you seldom have to do with them your self, and so constantly set me to turn them over, that I want time to sleep. Pray, Praeceptor meus, make your Addresses to them for 3 or 4 sixty minutes, while I take a Nap of a Parallel Extent. Yes, yes, and let Mr. Cuiden for so long undisturbedly Court Mrs. Philadelphia, and Mrs. Isabella, in the Garden, for there I left them, just now, together. 'Light, did you so? — Nay t h e n — [ H e buttons his Vest apace. What then — you are not jealous? Yes, as a Turky-cock, not that I care much for either of them; but a man looks so like a Solyman the Magnificent, when he is Cock of all the Hens on his own Dunghil. Why, I tell you, Tutor, 'tis the Noblest Prerogative that a Gentleman can have in his own House. Out on it! 'tis to be a Tyrant. And pray, Reverendissime Domine, who would not be a Tyrant if he could? We only inveigh against the Name, because we cannot be the thing, as Old Women declaim against Love, because none will make it to them. Sure you think by these Excursions to draw me from my point; come, come, Mr. Anthony, have you no Twitterings for Mrs.

5

10

15

20

25

30

ζ2θ

ANT.

DRAMATIC WORKS

OF ROGER

BOYLE

Isabella, and Mrs. Philadelphia? No Dissembling! I have seen you often cast Sheeps Eyes at them. Sheeps Eyes said you? That may be the Colledge way, indeed, of discovering an Amour, but when I make Love, I cast Lyons Eyes on my Mistriss; mine are all fire, for he that Courts but with Sheeps Eyes, 'tis ten to one, after he Weds, he will Wear the Sheeps Horns too.

35

40

Enter Mr. Plot. PLOT. ANT.

PLOT.

ANT. PLOT. ANT. PED. ANT.

PLOT. ANT.

PLOT.

What, Mr. Anthony, are you so early at your Study? NO, Mr. Plot, I am at my Catechism. M y Instructer is questioning me if I am not in Love with Mrs. Philadelphia, and Mrs. Isabella. I would not have you half so much as he is with your Motherin-Law, and with her two Nieces, Mrs. Betty and Mrs. Nan, for I have seen him fold his Arms, and sigh at them, as movingly as a lean Benefic'd Parson looks at a Living of 4001, a year. But is this so in faith, Jack? 'Slid, can you doubt it? See what a hanging look he has. [2] By this light he has : Ah, ha ! Director of my Fathers Son, Go ! His Face Pleads guilty. YOU amaze me, I profess. [Lifting up his hands. Chaste Mr. Professori Nay, now I have got you over this hip, I am resolv'd to be a Dionisius to thee; for, if I may not sleep as long as my Laziship pleases; if thou dost Cast, I will not say a Sheeps Eye, but so much as a Lambs Eye, on any of the Female Name within these Walls, from the Age of 8 to 80, (for all the rest under and over, I will vouchsafe to leave them to thy Discipline) ; If thou dost not daily certify my Dad that I am a greater Proficient in Learning than I am, nay, than ever I will be. How like you this, Mr. Pedagog, have I not taught your Pupil rarely this Morning? Prethee, let me have my full swinge at him (for he has had his many a dismal time at me) : I say, if thou dost not conform to all the Maxims of Jack Plot, Tom Art, and my own dear self, I will peach thee at such a rate to my Sire, as shall provoke him to uncase thee out of thy Pedagogical Cassock, Condemn to the Flame, Martyr-like, all thy Ferula's, Grammars, Dictionaries, Classick Authors, and Common-Place Books; nay, take thy Green Glasses out of thy Spectacles, and leave thee only thy Horn-cases to look through, by which thou wilt be as able to read Prayers with thy Nose as with thy Eyes. Nay, if thou dost not frisk as lustily to a single Kit, whenever thy late Pupil and my present Convert bids thee, as to 24

45

50

55

60

65

70

75

MR.

ANT. PED.

ANTHONY

52I

Violins, I will Convert thy Lictorian Bundles of Birch, which, Consul-like, thou hast carryed before thee, into Rods for thy own Posteriors, and have no more mercy on thy Hanches, than thou usest to have on my Friend Anthony's, when he cannot say his Lesson, though he be the greatest Dunce of the two; only his Imbecillity, varnish'd over with a Pythagorean Gravity, passes for profound Knowledge in thy Fathers Shallow Pate, where, if there is a Vacuum in Nature, there it needs must be. B y this hand, I long to open it, to try the Experiment. Verily, I do no longer wonder you would Murder my fair Fame, when you long to Murder the Person of your Reverend Father, only to try an Experiment of Philosopher Plot's. In sooth, though I say it, Mr. Anthony was a very hopeful Scholar, I mean of a Gentleman, before he kept such Lewd Debauch'd Society; he had a pritty smattering of the Greek, and for Latin he would declaim in it Extempore, and very rarely break Prissian's Head, but now forsooth, fresh and fasting, he longs to break his Father's.

80

85

90

95

PLOT.

O Times ! O Manners !

PED.

Well, Mr. Plot, what you and my unnatural Pupil have said, I will depose before Sir Timothy, and then woe will insue, for tho 'tis common for Sons to wish their Fathers in Heaven, yet it is 100 extraordinary for them to say it, and that before two Witnesses; remember this, Mr. Anthony. [Clapping his hands at him. B y this hand, Jack, I fear thou hast embark'd me in a damnable Intrigue; I would I were well out of it. [He scratches his Head, then quits Plot, and goes to Pedagog.] There's no way 105 but a hasty submission. Pray, dear Tutor, be not offended at what I have said; second thoughts, you have told me, are the best. Oh, are they so, are they so, Mr. Anthony? And now give me leave, I beseech you, to practise what your no Learnedship did vouchsafe to teach me. Come, my dear Aristotle the second, I vow you wak'd me so early, that I know not what I said; but on better advice, I'll be sworn I had rather break Prissian's Head a thousand times, than say once [5] (especially before two Witnesses) that I would break my 115 Father's. I protest, Mr. Anthony, this excuse is as bad as the fault; you are not troubled because you spoke Parricide, but because two Witnesses heard it. Oh, my Instructer, if thou wilt be Friends, I will henceforth 120 submit my Juicy Palm to the Correction of thy dry Ferula. I will every Night Cap Verses with thee for Sack Possets, and

ANT.

PED. ANT.

PED.

ANT.

522

PLOT.

ANT.

PLOT. PED.

ANT. PED.

DRAMATIC WORKS

OF ROGER

BOYLE

lose as formerly I us'd to do. I will Study like a Bellarmine, Declaim like a Cicero, Dispute like a Thomas Aquinus, Sillogize like a Ramus, Poetize like a Horace·, in one word, I will make thee famous by my Literature. For if the Pupil so much Honour have, What shall he that taught the Knave ? Prithee, dear Jack, interceed for a poor miserable Mortal which thou thy self has made so. Troth, Mr. Pedagog, at my request, condescend to wear your Penitent Pupil on the left side of your Girdle, as you do your Ferula on your right side, for 'tis fit the Corrector should take the upper-hand of the Corrected; then your Weeping Disciple, thus worn, will be call'd, instead of Mr. Anthony, Mr. Tony, and his younger Brother may beg him, so that you may afterwards put him in the long Coat-Livery, fit for the great Family of the Ante-Solomons, that you may boast what a Scholar you have made of him ere he was last put in Breeches: Do so, Mr. Tony, that habit will well become your Fathers Son, for 'twill be a comely Dress. [Ant. runs to Plot's side. Have you heard all this, Domine Doctor? Rather than I will be so jeer'd, clad, and endanger my Estate to be begg'd, I will turn down-right Mutineer, and defie Nature and Art, that is my Father and Tutor. — Hey-day — you think to use me without discretion, when this day I am come to the years of it. Well said, Mr. Anthony. This is spoken and resolv'd like one of my Scholars; hang the Name and Office of Pedagog. I hope suddenly to see you both wear the Order of the Hempen Riband at Tyburn, one for advising the Murder of the Father, and the Son for consenting to it. Go, Mr. Tony, (for such he has made you), quit your Father, and couple with your Godfather; learn from your Tutor Plot, to Drink, Swear, Whore, L y e and Quarrel; he will be an admirable Teacher of such Modern Natural Philosophy, while I Dedicate my Oil and Labour to Cultivate the Intellectuals of Mr. Nicholas, your Junior by Birth, but your Fathers Heir by Merit. Dost thou hear all this, Jack? DO, Mr. Tony, do; 'twill be a very friendly part in you to subvert the Order of Law and Nature, and make your Fathers younger Son your eldest Brother; 'twill be a prettier Metamorphosis than any I ever expounded to you out of Ovid. Alas, Pupil mine, I see you need the Ferula of Affliction, to drein the boasted-of moisture in your Lascivious Palm; the Salubrious Air of Newgate, with the two Antehumecting Courses of brown Bread, and Charity-fragments, may operate more efficaciously on your Manners, than all my Morals hitherto have done. [Ant. runs agen to Ped.

125

130

135

140

145

150

155

160

165

MR.

ANT.

PED. ANT. PED. PLOT.

ANT.

PLOT.

PED.

PLOT.

PED.

ANTHONY

5^3

Law you there agen, Mr. Plot. Rather than I will venture to be a Knight of the Order of the Tripple-Tree, bé conñn'd to a 170 Cittadel Garrison'd with Malefactors, and daily eat those Mosaick-Work Dinners he mention'd, I will abjure all the Plots and Arts in the World. HOW, Mr. Anthony, abjure all the Arts in the World! what then shall I teach you? 175 By this light, that's a good one! I meant all the Sirnames of [4] the Arts, not the Sciences themselves. Oh! I cry you mercy. Nay, in troth, Mr. Tony might still have liv'd with your Dullmanists, and yet have kept his Abjuration, though he had 180 meant it literally. Why, thou impudent Mis-teacher of Youth, do I not know thou art good at nothing but Wenching, and so good at that, as even the Old House-keeper Goody Winifred. had been forc'd by thee, had not her own willingness accepted the Courtesie? You Courted Mrs. Betty, and Mrs. Nan, and 185 enter'd into a Confederacy with them, to seduce Mr. Tony's Mother-in-Law; and that Indentures Tripartite are sign'd and seal'd, and deliver'd before Witnesses, that as soon as thou hast gotten the ascendent over the Lady, you three will Rule the Family Despotically; deny this if thou canst. Look now, 190 Mr. Tony, how like a Sheep-biter he looks. [Ant. runs to Plot's side. Ah, ha! Doctor Tarquín, are these your Morals? Would you Cornute my Father? Whore my Mother-in-Law? And, to act this, set up a Triumvirat? — 'Slid, I have broke Prissian's Head, and call'd an Association of three, whereof two are 195 Maids, or at least should be, a Triumvirate, forsooth. How that Phallaris would have tormented me with this Bull, had he not been depos'd ere I have Calved it! But Jack, what Proofs, Evidences and Testimonies, of this Conspiracy? I wish I have not committed Credulity. 200 IS not his silence Confession? Do you not see this University Professor, which pretends to know every Tongue, has lost the use of his own? YOU shall find I have not, for I will instantly run and Peach you to Sir Timothy. 205 [Offers to go hastily out, but is stopp'd by Plot, who offers to search his Pockets. Will you so, Doctor Wencher? I will therefore first rifle your Pockets, where I will get better Evidences against you than all your Oaths will be against us. What, rob a man in his own Chamber? I knew you were good at it on the High-way. Help, help, Mr. Anthony, remember 210 Accessaries are Principals: I charge you in the Protectors

524

DRAMATIC

WORKS

OF

ROGER

BOYLE

Name, to Rescue Innocence from Oppression, or else I'll peach you with him. ANT. By my life, I will not run the hazard and scandal of being Peach'd by him; I may loose a better Estate by it than thou 215 canst intail on me, for being thy Second. PED. Well said, my Wise Pupil, stick to me now, and I'll give thee a Verbal Oblivion for all that's past. ANT. Why then, I'll stick as close to thee as the Horns do to the Cuckold! [Helps Ped. 220 PLOT. Art thou mad? Why, I tell you, he has at this instant in his Pocket, all the Articles and Deeds I mention'd, and if we do not now recover them, he'll ruine us both; but if we do, thou shalt henceforth ride the Beast, thy Tutor, with a Port-bit, Caveson, a Muzzle-robe, three Girts and a Sussingle. 'Slid, I 225 say, I now fight for thy Priviledges and Freedom; on my life, I tell thee true. ANT. And on my life then, I will in a trice change my side; and thus I begin the Civil War. [Ant. kicks Ped., then holds him, while Plot rifles his Pocket of a Parchment, which he flings to Ant. PLOT. There's thy Magna Charta, Anthony. 230 PED. Help, help, Murder, Murder! SIR TIM. {within.) Who's that cries Murther in my Sons Chamber? PED. 'Tis poor Pedagogl Help, help! ANT. 'Slid, 'tis my Fathers Voice; I hear him coming; Jack, I am undone. 235 PLOT {to Ant.) I warrant you. {To Ped.) Lye down instantly and sprawl; oppose not what ever I say, [5] and I'll not shew Sir Timothy the Articles: else, by all my hopes, I will. [Ped. falls, and lyes sprawling on the ground. Enter Sir Timothy and his Lady. SIR TIM. PLOT.

ANT.

PLOT.

What's the matter? Why cry'd Murder here, and call'd for 240 help? Alas, Sir, as I was hearing Mr. Anthony make an excellent Declamation in Greek, Poor Mr. Pedagog, I think charm'd with the Raptures of it, suddenly started up, cry'd Murder and Help, and immediately fell into a Fit of the Falling Sickness, in 245 which see how he lyes sprawling. I protest, Sir, he half frighted me; his Eyes so roul'd in his Head, he look'd so ghastly, and so struggl'd with us that came to help him, as he could not have us'd us worse, had we come even to have rifled his Pockets; but I hope the Fit does miti- 250 gate. Let's rub his Temples, for he begins to breath. [Plot whispers to Ant. (That's a good Boy! Thou'lt make a rare Scholar,

MR. ANTHONY

ζΐζ

for thou hast learnt a most hard Lesson in the twinkling of an Eye. 255 ANT. {whispering to Plot.) Ah, Tutor, had I been but half so apt to learn under you, as you are to be taught under me, I had been ere now a Scaliger Junior. ) SIR TIM. Alas, poor Mr. Pedagog ! I never knew that he was subject to this Disease. 260 LADY. Indeed, Husband, now I remember it, Goody Winifred told me, that one day, when Mr. Pedagog had over-labour'd himself, she found him inclin'd to the Infirmity call'd the Falling Sickness, which is very troublesome to the Party himself, and to those he has to do with. 265 PLOT. Pray, Madam, leave him to our Care; I dare half promise you we'll soon set him right again, by the help of Goody Winifred. LADY. Come, Husband, let's leave him to their management, for you know we have scarce time enough to prepare for the Entertainment, which is to Celebrate your Son Anthony's being to day 270 of full age. SIR TIM. I would he were come to Discretion, as well as to the years of it. [Ex. Sir Tim. and Lady. ANT. Hold, thou Quondam Tyrant, darest thou peep up thy Muzzel before I have spoken my Spell in Verse and Rhime? 275 Thou who dost pretend such strictness, Yet counterfeist the Fallen Sickness; Thou who, ere thou wert discovered, O're my Breech with Birch still hover'd; By this Indenture Tripartite, 280 I charge thee leap up like a spright. [Ped. leaps up. PED. You see, Gentlemen, I obey, and if you will be secret, I solemnly promise, that the Credit I have with Sir Timothy and his Lady, I will always employ to act yours, and Mr. Anthony's ends. 285 ANT. But what security of performance, Disciple mine? for so I will Christen you, having had the honour to teach you this good temper you are now in. PED. Any security you will desire; name it and I will give it. ANT. First swear by the Tripartite Indenture you made. 290 PED. 'Tis done. ANT. PLOT.

ANT.

Then as some slight Pennance for your Crime, I confine you for ten Nights in sequence to Goody Winifreds Embraces. You see your late Pupil is not a severe Judge, for Goody Winifred is a pretty bucksom Girl for one of her Age. 295 Then cry up my proficiency in Learning to my Father; and [ó] when he puts his Ear to the Key-hole of your Closet, to listen what we are doing, cry aloud: "Admirably well declaim'd,

ξΐ6

PED. ANT. PLOT. ANT.

PLOT. ANT. PED. PLOT.

ANT.

PED. ANT.

PED. ANT.

PED. ANT. PLOT. PED. PLOT. ANT. PLOT. ANT. PLOT. ANT.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Mr. Anthony!" I swear, if you proceed at this rate, you'll be a Miracle. I never taught you lying. Not with Goody Winifred, I thank you; that Learning you reserv'd to your self. 'Slight, does he scruple at any conditions you think fit to honour him with? Yes, marry does he ! He has taught me a thousand times to lye with him while I was his Scholar, and he will not learn to lye once for me now he's mine; he's an Impudent Rogue. Ah, ha! Is he at that Lock already? Why then, lend me your Cane. Here take it, and if it be to bestow it on his Shoulders, I wish it were of Lignum Vitae for their sakes. I beseech you, Sir, forgive me, I will do whatever you will. I'll try his Conversion: Come, little Ped, come aloft over this Cane, for Mr. Anthonies sake; quickly, I say, or the Cudgel shall come aloft over you. [Ped. leaps over the Staff. Face about as you were. [Ped. leaps back agen. 'Snigs, Tutor, why among all my exercises did you not teach me this, for I perceive you understand it much better than any you indeavour'd to instruct me in? I hope you are satisfy'd I'll obey you in every thing. Soft, a Wise Scholar can never have too many proofs of his Tutors Obedience; therefore, Jack, give me the Cudgel. And now, Domine Ped, you must rehearse, Mutatis Mutandis, your Lesson to me, which Jack Plot taught you ; I am his Usher, and you must come aloft again, and for whose sake do you think? Alas! Mr. Anthony, how can I guess? I will inform you then: 'Tis e'en for your pritty Mistriss Goody Winifred·, she has made you come aloft for her, and now I but entreat you to do it for her sake. Shall this be the Epilogue to my Torment then? NO Capitulation, Pupil, but perform your Exercise. Leap cheerfully, my Boy, and then I'll get thee a play day. Well, since it must be, hold forth the Rack — hey for Goody Winifred I [He leaps backwards and forwards. What noise is that within? [A trampling within. Run, Preceptor, and see. [Ped. runs out. NOW we are alone, are you not in Love with either Mrs. Philadelphia, or Mrs. Isabella? Come, confess the Truth. Why then, on my Virginity, I am in Love with both. Both! Why, never any man was in Love with two Women at once! I protest to you, Mr. Plot, I have so large a heart, that I verily think I could be in Love with twenty two Women at once.

300

305

310

315

320

325

330

335

340

MR. ANTHONY

ζ2J

But, prithee, tell me how I may give Cuiden the go by; he is an 345 Insolent Rogue, to dare even this Morning to Court both my Mistresses at once. PLOT. I'll tell thee then, your two Mistresses hate a Coward, and Cudden, to my knowledge, is the greatest in Nature. ANT. (aside.) (I would the contrary were not true to my knowledge.) 350 But art thou certainly sure he is so, Jack? PLOT. I am, I tell thee again; now do you put some affront on him [7] before me, and I will relate it to them so hugely to thy advantage, as they shall abhor him and dote on thee. ANT. But a Pescods on it, what if he should strike me for affronting 355 him? For I must tell you, I would be loath to kill my Kinsman! PLOT. He strike you! No, he'll thank you in his heart, if, after you have affronted him, you do not strike him for induring it so patiently. ANT. Nay, then by the Mass, have at him, the very next time I set 360 Eye of him, tho' it were in the Church, for I am resolv'd to kick him down Stairs where e're I meet him. Enter Pedagog hastily. PED.

PLOT. ANT. PED. ANT.

PLOT. ANT. PLOT.

The noise you heard was made by Mr. Cudden, who I found leading Mrs. Isabella by one hand, and Mrs. Philadelphia by t'other, to their Chamber, after their mornings walk, and hav- 365 ing finish'd his Complement to them, he is now coming to visit Mr. Anthony. Rather to insult over him; but now, my Bully, that the injury is fresh, strike whilst the Iron's hot. Dear Tutor, prethee tell me, and tell me truly, has he neither 370 Sword, Dagger, Knife, nor Stick? [Ant. takes Ped. a little aside. Not one of them, I assure you. Why then, Jack, as soon as ever he comes into the Room I'll affront him, in such a way as never yet any Gentleman was ; but Jack, if there be need, will you stick to me? 375 I engage my Word I will. Nay, swear you will, for words are but Wind. Why then, I swear I will. Enter Mr. Cudden, who pulls off his Hat and Salutes Mr. Anthony.

CUDD. ANT. CUDD. ANT.

Good morrow, Cousin Anthony. Good morrow not. [Keeping on his Hat, and strutting by him. 380 Good morrow not! What do you mean by that? Know, he that of those Words does make a doubt, Let him sit down and pick the meaning out. (I think, Jack, I have laid it on home, for I have affronted in Prose and in Verse; nay, and in Rhime too.) 385

528 CUDD.

ANT. PLOT.

ANT. CUDD.

ANT. CUDD.

ANT.

PLOT.

ANT. CUDD.

ANT.

CUDD.

DRAMATIC WORKS

OF R O G E R

BOYLE

Why, if you be at that Lock, ungood morrow to you, Mr. Anthony. [Cudden claps on his Hat, puts his arms in Kimbow, and struts. (Advise me now, dear Jack, what to do, for I am surpriz'd to find he fights with me at my own Weapons; do you mark too what a surly look the Rascal has put on? 390 Pish, man! You ride the Fore-horse still; for you gave him the good morrow not, and he afterwards only gave you the ungood morrow. 'Twas you struck the first blow, mark that, whereby you have got the Punctilio of Honour, and be sure you keep it as bravely as you gain'd it.) 395 And why ungood morrow, Cousin mine? And why good morrow not, with a Vengeance to you? [Puts himself in a huffing posture. And what, with the same Vengeance to you, made you walk alone this morning with Mrs. Philadelphia and Mrs. Isabella? Why, I tell thee, one of them is my Mistress. 400 And I tell thee, both of them are my Mistresses; and good morrow not, is my way of Saluting a Rival. (Jack, how lik'st thou [5] that Repartee? I think 'twas Poynant enough. 'Twas quick and sharp; proceed but as thou hast begun and the Victory is thine. ) [Clapping Ant. on the back. 405 Which of them is thy Mistress? I scorn to tell thee. And I scorn to tell thee which of them both are my two Mistresses; and there's a Rowland for your Oliver, with a Murrain to you. 410 And there's a Box for your Ear, with a Hares Head against your Goose Giblets, and a Horse Pox to boot too. [Cudd. offers to strike Ant. who leaps back, crying: "Remember your Oath, Jack!" Ped. interposes, and holds him. Enter Mr. Art.

ART. PED. CUDD.

ANT. ART.

ANT.

For shame! What! Quarrel among your selves, and being Kinsmen too? I must call in the two she Constables, else we may have a fray. 415 {Ex. Ped. What a Duce had he to do with my Mistress? And what, a double Duce, had he to do with my two Mistresses? Nay, Mr. Anthony, there you are unreasonable; one Mistress at once is enough in all Conscience; and since there are a 420 couple of handsom Ladies, methinks 'twere fair that each of you should have one. Give you good morrow, Mr. Art; and pray, how reasonable is it that Cudden should confine me in my Amours? I am sure, if it

MR.

ART. CUDD.

ANT. CUDD. ANT.

CUDD. ART. CUDD.

PLOT. ART. ANT.

ANTHONY

be fit that a Gentleman who is no Scholar, should have one 425 Sweet-heart, a Gentleman that is a Scholar should have two, one for his Gentilities sake, and one for his Learnings sake; and this, in one Word, Mr. Art, is the state of our Cases. What say you to this, Mr. Cudden? I confess, Mr. Anthony has now put a pretty University-varnish on his pretence. 430 Alas, poor Freshman! He a Scholar? You shall see I'll Pose him instantly. Come, Doctor Tony, what's Latin for a Calveshead? Quickly, quickly. For a Calves-head? Yes, for a Calves-head, I tell you again. 435 Why, 'tis Caput-Cudden! — (Aside to Plot.) (There's a bob for him, Jack. ) You see, Learned Mr. Cudden, I can speak Latin when I am put to't. Prethee, tell me, Tom, is Caput-Cudden, indeed, Latin for a Calves-head? [To Art. 440 Why, do you not find he has put the Calves-head on your Shoulders, and in Latin too? Ah, ha ! Has he so? I'll make him for it, in plain English, eat a piece of his Neats-tongue. [Cudd. flies at Ant. and is stopt by Art and Plot. Hold, hold. 445 Nay, this is not fair, Mr. Cudden. If you would strike him, you should do it at the same Weapons that he struck you with. B y this Light, he's an Ill-bred Clown, and an Ignorant one too, that's more. Ask me Questions of my Literature, and then quarrel with me for answering them; he shows the only School 450 he was bred in was a Fencing one. Enter Mrs. Philadelphia and Mrs. Isabella.

PHILAD. CUDD. ISAB. ANT.

ANT.

Fie, Mr. Anthony, quarrel on your Birth-day! Had you not come in, fair Ladies, if should have been his Deaths-day too. Nay, Gentlemen, we must then Interpose our Intreaties to 455 prevent Man-Slaughter. I protest, Mrs. Isabella, we were only Pickeering a little in [p] Wit; and mine being too sharp for Cudden, he would have fain to Joco di Mano, as the Italians Phrase it, which, being rendred into English, is, to Buffets; but I beg your pardon 460 for a moment. [Cudd. Courts Philad. Ant., seeing it, runs between them, and makes a great many Legs to her; which obliges Cudden, at last, to retreat to Mrs. Isabella. Truly, Mrs. Philadelphia, I am sorry his Storms hath discompos'd your Calm, but were it not out of respect to you, I would

53°

DRAMATIC

WORKS

OF

ROGER

BOYLE

now beat him with my fist as much as, ere you came in, I did with m y Wit. PHILAD. That, Mr. Anthony, is the Nobler Weapon b y much. ANT. (seeing Cudd. Court Isabella, says to Mrs. Philad.) I beg your Pardon for a moment. [Then runs and does the like to Cudden in his talking with Isabella, as he did to him when he was Courting Philadelphia. And as I was telling you, Mrs. Isabella, when two Dispute to show their Parts, he that does Metamorphose the Argument into a fray, Evidences he does more depend on the strength of his Body, than on the strength of his Brain. I beg your pardon for a moment agen. [Anthony seeing Cudden Court Mrs. Philadelphia, runs thither, and does the like again to Cudden. CUDD. This is the third time you have plaid me this Horse-trick! If you do it a fourth time, I will play you a Horse-trick too, and kick you. [Cudd. goes off again to Isabella. ANT. Pish! This Idle Kinsman of mine is always whispering to me some Impertinency; and really, Mrs. Philadelphia, as I was saying to you, though Wit is better than Strength, yet when Reason is uncapable to operate, force must. I beg your pardon once more. [Ant. runs to Cudden, and serves him the like trick again, kicking Cudden'j Shins, by the Legs he makes to Isabella; at which Mr. Cudden, seeming inrag'd, kicks Anthony on Mrs. Philadelphia. ANT. Hey day ! This is pretty in faith ; for fear I should beat him, he pushes me on my Mistress. Well, that favour shall atone my Wrath for this time. PHILAD. For shame, Mr. Cudden, kick Mr. Anthony. CUDD. Why, Madam, did he kick me? ANT. I kick him! I vow, Ladies, I scorn to defile my feet so much, as to make them kiss Cudden's backside. ISAB. I'll be judg'd by all the Company, if Mr. Anthony were doing any thing but only making Legs to Mrs. Philadelphia. CUDD. They were, at once, Legs to her and kicks to me. ANT. I am resolv'd to pay my Civilities to her, whatever effects they produce upon any body. Cousin mine, 'tis dangerous to stand behind a Cannon when 'tis fir'd; for though it be meant to do most Execution forwards, yet the reverse of it is fatal to those who stand in the way of it. CUDD. Thou a Cannon! Thou art not so much as a Pocket-Pistol! PHILAD. Nay, if you are falling to your Fire-works, 'tis time to part you. Come, Mr. Anthony, I'll take you out of Shot. ISAB. And you, Mr. Cudden, I will remove from this Battery, lest the

465

470

475

480

485

490

495

500

MR.

PLOT.

ART.

ANTHONY

531

Reverse of Mr. Anthony's Carriage should gall your Shins again. [Ex. Cudd and Ant. looking big at one another. The Certain'st way to keep those two Dunghil-Cocks from offering to fight is to let them have no body in sight to part them. 505 Right, Jack: [10] And now, methinks, our Toils are so well set, That what those Curs but Hunt we two shall get. [Exeunt.

A C T II. [The SCENE a Chamber in Sir Timothy's House.] Enter Art, Plot, Mrs. Betty, and Mrs. Nan. PLOT. ART. BETTY. NAN.

BETTY.

PLOT. NAN. BETTY.

Ah, my dear Betty and Nan, you both deserve to Rule a State, you contrive so admirably. But prethee, how could you two fool Pedagog into that triple Indenture? I dare undertake to Fool him into a hundred things, sooner than Wise him into one thing. 'Tis the most Amorous Domine that ever weighed at a Smock; as well can testifie Dame Winifred. He that could make Addresses to such a Damosel, I thought could be Lur'd by a Petticoat worn by whatever flesh and blood of less than fifty years growth. Therefore, we made our Aunt believe, that if on all occasions she look'd lovingly upon him, and smil'd at every Jest he thinks he makes, 'twould render him so absolutely a Creature of hers, as she might, by his assistance, bring Sir Timothy from his Resolution of Marrying his Son Tony, and his Nephew Cudden, to Philadelphia and Isabella, and then we knew 'twou'd be no hard business to get those two Solomons for our Husbands, nor those two pretty Gentlewomen for your Worships Wives. Which was a Work to be despair'd of, while the Grammarian was not brought off: First, because he is Sir Timothy's Helm, and Steers him as he lists: Secondly, he would obstruct our Marriages with any others, because he is himself in Love with both of us. In Love with both of you together? NO, no, with both of us asunder. She says right, for when we are together he has no Eyes for either; but when either of us are alone with him, the Picture of a Tarquín Ravishing a Lucretia, seems but a Carthusian compar'd to the Rampant Domine.

5

10

15

20

25

30

532 NAN.

BETTY. NAN.

BETTY.

NAN.

PLOT. ART.

NAN.

BETTY. PLOT. ART. BETTY.

ART. NAN.

BETTY.

PLOT. ART.

PLOT.

DRAMATIC WORKS OF ROGER

BOYLE

B u t t h a t which I take worse than his being in L o v e w i t h us, is, T h a t he m a k e s me the v e r y same V o w s , Sighs a n d C o m p l e ments, which he m a k e s to m y Cousin Betty. SO that his Courtship to Nan is b u t a D u p l i c a t e of his to me, a v e r y Counterpart, I assure y o u . 35 A n d if y o u saw how Categorically he Wooes, how R e g u l a r l y he is in his M a j o r , his M i n o r , a n d his Conclusion, 'twould m a k e one abjure making use of L o g i c k , a t least, in Pleadings of L o v e . NOW m y A u n t , h a v i n g swallow'd our advices, has so well acted her p a r t , as she drew this Syntaxis to sign the Triple-league, of 40 which I g a v e y o u notice, M r . Plot, and in w h a t P o c k e t he c a r r y ' d it; where I a m glad y o u found it. B u t his fit of the Falling Sickness, and the T y r a n n y of Squire Tony over him, were pieces of M i r t h , which w e grieve w e were not Eye-witnesses of. 45 T h e r e will be enough to follow, to console y o u for that [ 1 1 ] loss. I a m sure I grieve more, t h a t two such Ingenuous a n d H a n d som Gentlewomen should take all this pains to M a r r y a Couple of Fools. 50 T h e r e will be enough to follow, to console us too. W h y , I tell y o u , M r . Art, I h a d rather M a r r y a R i c h Fool than a R i c h Wise man. SO h a d I , I protest, since 'tis better to be the M o n a r c h than the Subject. 55 YOU h a v e half convinc'd me, I confess. N a y , y o u h a v e wholly convinc'd m e ; b u t are y o u agreed w h o shall h a v e w h o ? Since M a r r i a g e is a chance, let t h e m e'en take theirs; their E s t a t e s are alike, and t h a t ' s the only thing in which w e are for 60 Equality. B u t Cudden is a surly Fool. I wish therefore he m a y be m y Province, for I should think it a v e r y unconscionable thing to h a v e the absolute m a n a g e m e n t of a good E s t a t e , w i t h o u t being p u t to some L a b o u r in the 65 doing it. A n d for Squire Tony, if I fall to be his Spouse, a n d I do not m a k e h i m come a l o f t whenever I hold forth, a n d as n i m b l y as he made Domine Ped do it this morning, h a p p y m a n be his Dole. 70 H a p p y W o m a n be y o u r D o l e , if y o u can do w h a t y o u say. B u t now, t h a t all our Scruples are s a t i s f y ' d which sprung from our respects to y o u , let us fall roundly to our Quadruple D e signs. Enter T r i c k . W h a t N e w s , Trick? 75

MR.

TRICK. ART. TRICK.

ART. TRICK.

ART. TRICK.

ART. PLOT. ART. ANT.

BETTY.

ANTHONY

Mr. Art, I have been seeking you this half hour. Why, what's the matter? A word in your Ear, Sir. — (There's my Master, Mr. Cudden, hunting full cry after you; he is as sullen as a Colt that's newly Halter'd, and nothing but his eating Mr. Anthony s Heart, with a grain of Salt, can lay his fury. In one word, you must be his Second, and carry the fatal Letter of Defiance; you know the affront. With what Weapons will he fight? E'en at Basket-hilt Cudgels, the Weapons he was bred up to; and he has chosen such a tuff one out of his Grandfathers Arsenal, and so much knottier than any Case amongst the Civilians, or School-men, that if he lights on Mr. Anthonies Pate, the Surgeons will think him wounded with a GenevaPress, the Letters at one Printing will be so small and many. A t Cudgels say you? Yes, at Cudgels, for he has forsworn to fight at Sharps. But, Sir, I beseech you make haste, for I left him Practising to Fence against Hercules in the Hangings, whom he has so unmercifully thrash'd with his Straw-hilted Flail, that as you love that good Suit of Tapistry, fly to its Rescue. Away ! Tell him I will be with him immediately. ) \Ex. Trick. What's the matter? I am sent for to be Cudden's Second against Squire Tony. And if ever there were a merrier Duel seen, I'll be content. —• But here comes Tony — Away, Women ! We must not be seen together, but for six pence a piece you shall be Spectators of the Combat. 'Twill be too dear a Bargain. [Ex. Art, Betty, and Nan. Enter Anthony laughing.

PLOT. ANT.

PLOT.

ANT.

533

80

85

90

95

100

[12]

What's the matter, Mr. Anthony, that you are so Jocose? Ha, ha, ha — was there ever, Jack, so Ingenious an affront put upon a Rival, as I put upon Cuddeni I could not imagine (for I am no Witch, I protest) which of my two Mistresses he was in Love with, and therefore, which soever of them he talk'd with, I still, Ingineer like, interpos'd, and made use of my Legs to Salute, at once, the Lady, and kick the Rival. 'Tis a new Invention of my own, and resembles killing two Birds with one Stone. If the Feet be so Ingenious, what must the Head be, that did actuate them so dexterously? Well, go your ways for Cap a Pee, you have no fellow. Nay, but Jack, the Jest was He could not take it ill neither, for I affronted him to his face, and yet behind my own back. Men may talk of their De-Villes and their Freetakes, and I know not

105

no

1x5

534

PLOT. ANT.

PLOT. ANT.

DRAMATIC WORKS

OF

ROGER

BOYLE

who ; but if this be not a new way to make approaches, assault the Fortress, and cut off the Enemies relief at once, say I understand not Castramentation. And did you mark, I did it so cleverly, that Mrs. Isabella Appeal'd to all the Company, whether I had done any thing but Salute Mrs. Philadelphia. Y e t methought Cudden grew angry at last. Why, I tell thee, 'twould have made a Statue angry to have been so us'd, and not to know at what end to begin his Revenge. Perhaps that made him fall so uncivilly on your middle, and kick your Hanches. That very kick, if it were one, for I hardly felt it, was the thing I rejoyc'd at, for it show'd him rude and unjust. I tell thee he's a lost man thereby.

120

125

130

Enter Art. ART.

ANT. ART.

PLOT.

ANT.

PLOT. ANT.

ART. ANT. ART. ANT.

Mr. Anthony\ I am come with much reluctancy to deliver a Message to you, but my Honour being concern'd to serve my Friend, I must tell it you; yet had I not been pre-ingag'd by him, I would as willingly have serv'd you. What Friend, and what Message, Mr. Arti Pray speak Unenigmatically. Why then, Sir, in plain English, my Friend is Mr. Cudden, and my Message is to invite you to the Field, that there he may wash off the affront you did him in your Chamber. Mr. Art, I am glad you bring this Challenge to Mr. Anthony, when I am present; 'twill save him the pains to seek a Second: I offer him my Service: We'll meet you. Name the Arms, the time, and the place. Soft, Mr. Plot, no haste, but to catch Fleas, two words to a bargain; what affront, Mr. Art, does cause this Invitation to fight? 'Slid, why do you ask? 'Tis cause enough that he does Chailenge you. I t may be so, and it may be not so, for Doctors sometimes differ ; so many men so many minds. What affront did I to him, I say? Why, Sir, you kick'd him. Pray, Mr. Art, we shall dispute the better, when we have agreed upon the Terms. Therefore define what a Kick is. The clearest way of defining a thing is to demonstrate it. You did thus to him — [Kicks him. I hold you 201, of it and be judg'd by Mr. Plot, for I never Yerk't my Foot forward all the while I was in the Room, as Mrs. Isabella very honestly observ'd; but I Yerk't it backward to Salute Mrs. Philadelphia.

135

140

145

150

155

160

MR.

ART.

ANT.

ART. ANT.

PLOT.

ANT.

PLOT.

ANT.

PLOT. ART. ANT.

ANTHONY

535

Why, that made the affront the more insupportable! Had [13] you Kick'd him forward, that had been done like a Man: 165 But to Kick him backward was like a Horse. What did he in harms way then? Besides he shows his Illbreeding. I made Civilly a French-Leg, and he ignorantly took it for an English Kick: he is in the wrong, Mr. Art, his quarrel's a bad one. 170 YOU are the likelier to worst him if his Cause be ill. But I am too good a Christian to design to kill a man in a bad quarrel; my Anger Extends not to damnation.— But Mr. Art, mark what I say: if he can find a Quarrel wherein both of us may be in the right, I'le then meet him where e're he 175 dares, nay, tho it were to fight on the top of Pauls-Steeple, and that's a place conspicuous enough of all Conscience to shew our Valours in, is it not, Mr. Plot? Pray, speak your mind freely, for here are none but Friends. Will nothing move you! I tell you if you do not accept the 180 Challenge, you will lose Mrs. Philadelphia and Mrs. Isabella, for they both abominate a Coward. And I abominate killing my Cousin; now the question therefore is, which of the two Abominations shall have the precedency; 'tis worthy two or three days consideration at least, I 185 assure you, Mr. Plot. Come, Mr. Antony, I see your stomach is somewhat squeamish premeditately to kill your Kinsman; and therefore I'll answer Mr. Art for you. Pray, Sir, since you are so forward at answering for me, answer 190 Mr. Cudden for me too. All or nothing, Mr. Plot. I beseech you. Well, Sir, the time? Immediately. That's very short warning for so serious a business as fighting 195 for 2 Mistresses.

PLOT.

T h e place?

ART. ANT.

Where you will. In my Fathers Chamber then; he loves his Son and his Nephew; and therefore the likelier to prevent mischief.

PLOT.

T h e Weapons.

ART. ANT.

Basket-Hilts, with Plimouth blades in them. (What are those Plimouth blades, Mr. Plot, Cutters, or Thrusters? [Aside. Neither, 'tis only a Modern phrase, for a Crab-Tree Cudgel.) 205 Chear up, Mr. Anthony, you can have by this Duel at these Weapons but your Pate broken, and one Wound is the least you can indure for your Love. Lord! How hastily you run away with things! I tell you,

PLOT.

ANT.

200

536

PLOT.

ANT. PLOT.

ANT. ART. ANT.

PLOT.

ANT.

PLOT.

ART. ANT.

PLOT.

ANT. PLOT.

ANT.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Mr. Plot, I have endur'd two Wounds already for my Love, 210 one from Mrs. Philadelphia and t'other from Mrs. Isabella·, why a duce then would you have me venture for a third? 'Slid, I think you take me for a Papist, that would have me do Works of Supererrogation: I tell you, Sir, I am a Protestant and detest all such Romish tricks. 215 YOU have indeed endur'd two Wounds from them; but now you must venture one for them. 'Tis, I tell you, what you owe your Love. But will Love pay for my dressing, when I am hurt, for you know my Father allows me nothing for Idle Expences? 220 O Sir ! Love's an Excellent Sirgeon. I can hardly believe it ; for he's a Boy and Blind, and a Surgeon ought to have Experience, and good Eyes. Then endure it for your Honour. Honour said you? Why, in one word, I think honour is the [14] greatest make-bate in the World: Let one quarrel for Love, 226 Drink, Revenge, or Ambition, and Honour whispers in his Ear: "Pray, Gentlemen, Fight, and say 'tis for my sake." (to Ant.) Mr. Antony, Hark! There is just now a Notion come into my Head that I'm sure will please you; 'twill make you 230 come off with Honour. I, Mr. Plot, come off with Honour, has a most Melodious sound; but to go on for Honour, I detest it; it grates my Ears worse than a Mistresses denyal. Mr. Art, I assure you, all that Mr. Antony has said was first to 235 show his Wit, then his good Nature to his Kinsman. And now if you will walk a turn or two by your self, I dare promise you, he shall give as signal Evidences of his Valour. I obey you, Sir: But, I beseech you, be short, for my Friend is very Impatient. 240 Law you there now, Mr. Plot, who a Devil would have to do with an Impatient Man, if he could avoid it? And 'tis that only that I endeavour, and yet you would hinder me. Hear me e're you condemn me, and observe well what I say; by the Laws of Duels — 245 Why, are there any Laws for Duels? I thought all the Laws had been against them. 'Tis true, the Statute Laws are against them; but the Common Law, that is Custome, has made it the mode, that the Challeng'd is to appoint the Weapons, not the Challenger. 250 I heartily thank you for this Information, for since he has broken the Laws, that's a fair Excuse to have no farther Correspondency with him; I hate to have to do with a Lawless Man. Pray, tell Mr. Art so from me, and then I am come off

MR.

PLOT. ANT.

PLOT.

ANT. PLOT.

ANT. PLOT. ANT.

PLOT. ANT. PLOT. ANT.

PLOT. ANT.

PLOT. ANT.

PLOT. ART. ANT.

ANTHONY

537

with Honour as you promis'd me; your Servant, good Mr. Plot. Nay, Mr. Antony, do but stay and hear me out on this Subject. I protest, Sir, I have heard too much already on this Subject: If therefore you will discourse on some new matter I am for you, or else your Servant, as I said before. But you shall stay and hear me out, for it concerns your safety and your Reputation; I say, since he has nam'd Cudgels, tye him to those Weapons for his offensive Arms, and then you shall name Guns for yours. I understand you, and the Notion is ingenious, I confess: But, Mr. Plot, —

255

260

265

But what?

But — Troth, I am asham'd to tell you. Come, come, be not asham'd; tell your Friend any thing. Why, Faith, Sir, I more fear to discharge a Gun in my own Hand, than a Cudgel in my Cousin Cuddens: But there is on a 270 sudden a most admirable Notion come into my own Head, and I am in Labour till I am Deliver'd of it to you : 'Tis to choose Long-Bows and Arrows ! B y this light, I could pelt him at that sport; for I am an Excellent Marksman; and I no more fear to shoot an Arrow out of a Bow (tho I say it that should not) 275 than I now do Mr. Pedagog. Excellently well contriv'd; I am sure you have over-reach'd him now. What? Did you think I have been a Scholar for nothing? I'le call Mr. Art then, and tell him you'l meet his Friend. 280 Stay a little! Y o u are so forward: As he has nam'd his offensive Arms, and I have chosen mine; so I hope I may wear defensive Arms too, tho he has not the discretion to think of them. What do you mean by defensive Arms? 285 Why, I mean Back, Breast and Pot, for in affairs of Love, Life [15] and Death, a man cannot be too Circumspect; may I not wear Armour, think you, Mr. Plot? YOU may, you may, since he has not had the fore-cast to bar it. I would have been loath else to have ventur'd this good Nat- 290 ural Head-peice of mine, to his Battoon, without an Artificial Case to preserve it: And now a fig for his Plimouth Blades; call him! I am resolv'd, nor shall thy Flayl, O Cuz, resist — and so forth. Come nearer, Mr. Art. M y Friend, Mr. Anthony, will now 295 make good what I engag'd he should. I expected no less. Yes, marry, will I, Sir: Tell your Challenger from me, tho 'tis my Birthday, which might dispense with my now acceptance of his Cartel, yet I'le meet him at the Lawrel-tree within this 300

538

ART. ANT.

ART. ANT. ART. ANT. ART. ANT.

ART. PLOT. ANT. ART. ANT.

DRAMATIC WORKS

OF

ROGER

BOYLE

hour: That's the place I appoint for our Duel, that as soon as I am Victorious, I may Í?ow£wí-Conqueror-Iike, have at hand wherewith to Crown my Brows. YOU will meet him too with a Basket-Hilt-Cudgel only. Soft, Sir, that bargains yet to make: He has Chosen his Weapons and I'le Choose mine; and 'tis but Lex Talionis that I should. 'Slid, for ought I know, you may come with Musquetoons. No, I hate such odds. Or, with a Spanish-Pike, or a long English-Quarter-staff. No, on the Reputation of a Duellist. What Weapons then will you bring with you? T h a t time shall Evidence, but yet to finish this needless parley, I engage to bring no Arms, I mean offensive, (Mark that, Jack.) but what shall be of Wood, and rather shorter than longer than his. I am satisfy'd. Mr. Plot, you'l be Mr. Antony's Second. Most Willingly. No, Sir, he shall be none of my Second; I'de have you know, I am old enough to Fight m y own Quarrel. B u t I shall stand Idle then. Idle do you call it? I think looking on while others are Fighting is an Employment, and no ill one neither.

305

310

315

320

PLOT.

B u t , Sir, 'tis t h e M o d e .

ANT.

Would those were at Jerico that brought it first up, because 325 Mr. Cuiden and I have perhaps no mind to kill our selves. Mr. Plot and Mr. Art, that are good friends, and therefore have no mind to kill one another, must do it, for 'tis the mode forsooth: Of all French Fashions, and there are many bad enough in all Conscience, this is the very worst: Pray, would 330 you not think the University mad, if because two Doctors dispute, all their Friends should do so too at the same time: A w a y ! I say I'le have no fighting with Seconds. Y o u have Reason, I confess, and so I leave you, Gentlemen — [Ex. Art. Let him riddle me what I meant, Jack·. I think I worded m y 335 answer Artificially. A Delphian Priest could not unfold your meaning, and yet your words were very Simple. Why, in that consisted the Exquisiteness of my Expressions; but little will Cudden dream a Wooden Arrow, which is [16] shorter than his Cudgels, will reach him a hundred yards off. 341 But, dear Jack, by some device or other get Mrs. Isabella and Mrs. Philadelphia to walk b y chance that way to be Spectators of our Combat. Ah, how 'twill animate me! I'le do m y best to bring them: farewel, my Bow-man bold! 345

ART. ANT. PLOT. ANT.

PLOT.

MR.

ANT.

ANTHONY

539

Farewel, my Second that would have been! [Exeunt several ways. Enter Sir Timothy, his Lady, and Mr. Pedagog.

SIR TIM.

I protest, you amaze and ravish me at once, Mr. Pedagog, for you were still complaining how unapt my Son Antony was to learn, when he was in his Study.

LADY.

N a y , and h o w difficult it w a s to get h i m thither.

PED.

All this is right forsooth; but I did it in meer policy: For pia fraus is Lawful, as the Learned have determined; I know when once a young Gentleman comes to the Age of discretion, farewel Books and Learning for ever after! and therefore I did make the more Complaints that when he came to be of ripe 355 years, he might be of a ripe understanding too; which now I do assure you he is — Arithmetick, Philosophy, Algebra, Metaphysicks, Mathematicks, etc. all which he hath run through, I can tell your Worship with Joy. He understands Hebrew, Syriack, Arabick, nay, and the Tutonick, as well as 360 I do. Well, Mr. Pedagog, since I am not able to Examine him my self, in any of those Arts or Languages I will take your word for 'em all. But since Mr. Pedagog has done so well for your Son, you 365 should do as well for Mr. Pedagog, and now a happy ocasion is offer'd you; for Mr. Philpot, the old Incumbent of the Parish of Tytheing, is going the way of all flesh, and therefore let me entreat that you would present this good man to that Benefice, which is your gift. 370 I thank you heartily for minding me of it. Yes, Mr. Pedagog, as soon as Mr. Philpot is carryed down into his grave, you shall ascend his Pulpit; so you can but pass the Tryers, which you may the better do, having never taken Orders. I humbly thank your Honour and my Lady. 375 But hark you, Mr. Pedagog] I will make the same bargain with you, as I made with your Predecessor, which is, that you shall not preach above half an hour, no, not on a fast day, which Mr. Philpot was so careful not to break, as he would never preach at all: and that shew'd him to be a very Conscientious 380 man of his word. We shall therefore have a great Loss of him.

SIR TIM.

LADY.

SIR TIM.

PED. SIR TIM.

350

Enter Goody Winifred. G. WIN.

SIR TIM.

Sir, the Fiddlers are come: but tho we all entreated them to play before the feast be brought up, yet they are so Surley that they will not play till you your self bid them, which has put all the Servants out of humour. Come, Sweetheart, some of these Maids, for ought I know,

385

54°

G. WIN. PED. G. WIN.

PED. G. WIN.

PED. G. WIN.

PED. G. WIN. PED.

G. WIN.

PED. G. WIN.

DRAMATIC WORKS

OF ROGER

BOYLE

may long for a ñddle. Mr. Pedagog, draw up your presentation that no time may be lost, for the Pulpit like the Throne should never be unfilled. [Ex. Sir Timothy and Lady, at one door. Goody Winifred stops Pedagog. Stay, worthy Sir, you were not wont to go out at one door, when I come in at the other. What's the matter, Goody Winifred? And why, I pray, Goody Winifred? I have been called in the days of yore by you, Mrs. Winifred·, and since you put me to't, I have been called by you Mrs. without Winifred at the end on't. But now you are — What am I? A man that I have but lov'd too much, and a man that loves me too little. Oh, Mr. Pedagog, did I give up that Fort to you, which had held out for 60 years against all Assaults and Batteries, and am I thus requited? Pray, Expound what you mean? Alas, you think I am too old to see the amorous glances you cast upon Mrs. Betty and Mrs. Nan, but I would have you know, Jealousie needs no Spectacles. B y my life, I doubt you are Jealous ! I tell you your Inconstancy has given my heart the Palsey, and yet a Cordial of Smiles from you may do much — Truly, I must now put on serious looks, for my Worthy Patron and his Lady have promis'd me the reversion of the deceasing Mr. Philpots Benefice, and I am going to prepare him for his happy Journey. Then the change is too visible; you that ere while would have left your Study, and what was still more dear to you, your Victuals, for my company, now to avoid it, run to see a dying man breath out his gastly Ghost: But if there be Restoratives, Cordials, or Elixers in my Lady's Closet, nay, in all the Chymists Laboratories in Europe, I will pawn my Smock, but I will procure them, to spin out Mr. Philpot's thred of Life: and if the fatal Sisters cut it, I will then discover my nakedness to the Eyes of the Law, and accuse thee of Incontinence with me, to prevent thy Induction to the Parsonage of Tything. I will, ungrateful Lecturer, for since thou art weary of my Sheets, I'll make thee Preach in Penitential ones; that will I, by my injur'dLove! Fie, Goody Winifred •— Goody agen? — I was Goody till thou madest me Naughty; and since I cannot act thy ruine but by my own, we will fall together, for I'l go instantly and tell Sir Timothy and my Lady, how thou hast Triumphed over the imbecility of a weak Fe-

390

395 O7]

400

405

410

415

420

425

430

MR. ANTHONY

54I

male, and thereby defiled their habitation, and then he will present you to the House of Correction, rather than to so good a Benefice. PED. Think better of it; for know, as a Learned Author has most Pathetically express'd it, Anger is a short Madness. 435 G. WIN. NO, I will not tell it, — that my blushes will deny me the Power to do, •— but I will Write it, and Seal, and Sign it, before sufficient Witnesses, that it may be irrevocable; for as you have pass'd over Rubicon, so my Stone is cast. Farewel for ever. [She offers to go out in great jury. 440 PED. (striking his breast.) What shall I do? If she discover our Copulation, I'm lost for ever! [Win., hearing him sigh, turns about at the door and sighs too; each of them fold their Arms, draw out their Handkerchiefs, Sob and Wipe their Eyes. (That showre dissolves me.} G. WIN. (That sigh does pierce my Heart. ) PED. My Mistriss, my Winifred — 445 G. WIN. My Mistriss did you say? Speak it again. PED. I'll speak it though it were my last. G. WIN. Oh! I doubt this is dissembling. PED. NO, by your self, by the joys I found in your Matronlike Embraces. 450 G. WIN. I dare not stay, for I shall be again beguil'd; you have Charms for me; Mr. Pedagog, farewel. PED. Stay, thou first School Mistriss of my Heart, here. [Opening his Arms. Use it as you list; 'tis yours now and anon [18] too; you understand that Watch-word. 455 G. WIN. Yes, and thus I answer it. [She and he run and embrace one another sobbing and crying. PED. Thus while our Arms each other bind, We'll laugh and leave the World behind. G. WIN. Had we not better thus joyn our Forces, than be Peaching one another? By my Modesty, my Pedagog, hadst thou not lur'd 460 me back with a sigh, I had turn'd Haggard, and Prey'd for my self, for slighted Love is strongly provoking. PED. We'll drown this Night all past Civil Wars in a Sack Posset, etc. This Quarel, my old Friend, shall fully prove, 465 The little jars of Lovers strengthen Love. [.Exeunt embracing.

542

DRAMATIC

WORKS

OF

ROGER

BOYLE

A C T III. [SCENE I .

T h e SCENE a G a r d e n w i t h a n A r b o u r . ]

Enter Mrs. Philadelphia, Mrs. Isabella, Mrs. Betty, Mrs. Nan, Mr. Plot, and Mr. Art. PLOT. PHIL. ISAB.

PLOT.

ART. NAN.

BETTY.

PLOT. ART.

CUDD.

ANT.

'Slid, they are not yet come; I admire at it. What if they should not come at all? Why, the best is, if they knew we were here to see the prize, and they should not Play it, they could not Laugh more at us, for being disappointed, than we should have Laugh't at them, had they attempted to fight it. If they should fail, Mr. Art and I are bound in Honour to beat them, for not Fighting, worse than they would have beaten themselves, if they had Fought. That's the lowest Revenge we can take of 'em. M y hope is that each of them will so firmly believe that the other will not come, that they both will meet here, to the terrour of each other. Away, away, to your several stations, for I see Cudden at hand, marching this way as slowly as if he were going to Church. [They all gaze that way as Betty does. 'Tis he, and if he strikes as heavily as he looks, woe be to Squire Tony's Bones, though they are cas'd in Iron. Ladies, to your post! else we shall be discovered. [They all six conceal themselves within the Scene. Enter Cudden, having in his Belt two Crab-tree Cudgels with Basket-hilts. He looks several ways. M y Rascal is not come, and I hope never intended to come, for, now my anger is over, I wish the Fighting were so too ; yet what Revenge can be sufficient for the Qualms he has put me into, and for the Expences of drawing up my last Will and Testament. However, I have most stupendiously disgraced him. This one affront will lose him his two Mistresses:.The Rogue I must confess has a little the better Wit, but I a great deal the better Courage; which he palpably acknowledges by his Non-Appearance. I want only to compleat my happiness equal to my Victory but that Mrs. Philadelphia and Mrs. Isabella were now in view. What Noise is that? Pray Fate no Treachery be play'd me by my Rival. [Mr. Antony puts his Head into the Theatre, Peeps about and, at last seeing Cudden, starts back, Crying "Ah!"

5

10

15

20

25

30

How the sight of him has mortifyd me ! A Curse of all de- [ 19] fensive Arms! They so load me, as I cannot run away neither.

MR.

CUDD. ANT.

CUDD.

ANT. CUDD. ANT. CUDD.

ANT. CUDD. ANT. CUDD. ANT.

CUDD.

ANT. CUDD. ANT.

CUDD. ANT.

CUDD. ANT.

CUDD. ANT. CUDD.

ANTHONY

543

Oh ! are you come at last? but why a Devil in a Leaguer-Cloak? (That question has put an Excellent Stratagem into my Head.} Alas, Cousin, I am on a sudden fain desperately ill of an Ague; I protest to you I am now exceedingly indispos'd. Yes to fight, and so you will be at any time: But, since, as you say, you have an Ague, a fright is the best Cure for it: Come on, Sir, I'll be your Doctor. But, dear Cousin, all the Physitians agree 'tis very dangerous to administer the Physick in the fit. But you that are a Scholar know there is no General Rule without an Exception, and I am resolv'd to make it your Case. Consider, I beseech you, Cousin, you will get no honour in beating a Weak Sickly-Man. But I shall get revenge in doing it, which, as an Ingenious Poet has said, is Sweeter far than Muskadine and Eggs. Come, I say, draw. [Cudd. draws out his 2 Cudgels. 'Slid, you are doubly Arm'd, and why I pray with two Cudgels? Lest one should break by Accident, and I resolve to make you full payment at this time. Is there no Quarter then? NO more than you gave my Shins, when you made your French Legs to Mrs. Philadelphia. 'Tis hard to be beaten by a Cavaleer, for Saluting a Lady a la mode·, to be Cudgell'd for ones good Education would warm a Man. L'le do you that Courtesie then, without the help of your Cloak; off with it quickly and with your Hat too, and let us fall to work. Uncase, uncase, I say! Then thus I begin to uncase. [Flings of his Hat. Death! a Helmet! No, 'tis a Head-piece: I have often show'd you in the Town, that mine is better than yours, and now you will force me to convince you of it, in the Field too: Nay, there are more Mortifying sights behind. [Flings of his Cloak. Back and Breast too! Then I am betray'd. NO, no, you are only over-reach'd, as well shall Evidence this Bow and Arrows, which I have chose to fight with; because Cupid is Painted with such Weapons, and ours is a Quarrel of Love. How do you like this Emblem, is it not a Witty one? Nay, Cousin Antony, this is foul play. Indeed, Cudden, yours was not over fair, to force a Man to fight with you that was Sick of an Ague; but my Cold fit is gone, and now my Hot one is come. Have at you ! Yes, yes, you may shoot at a Naked man. [Cudden Cries. Lashy, lashy, poor Child, Cry when thou seest the Rod. IS there no Quarter then?

35

40

45

50

55

60

65

70

75

544

ANT. CUDD. ANT.

CUDD. ANT.

CUDD.

ANT.

CUDD. ANT. CUDD. ANT.

CUDD. ANT.

CUDD. ANT.

CUDD.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Not so much as half a quarter. You shall find my old English 80 Arms are more unsufferable to you than my new French Legs. Do but forbear till I fetch my Bow and Arrows, and my Breast, Back and Pot, and then — And then you would laugh at me, as I do at you, for so Ri- [20] diculous a Motion. But this I'le do, for the sweet sake of 85 which of my two Mistresses you groan for: make a deed of Resignation of her to me, in which I will have you confess I have out-witted you too, and then I may be mollify'd. Resign my Mistress! How that word turns my Stomach. Nay, if the word Resign offend your long Ears, I give you leave 90 to put in Renounce, Quit, Relinquish, Desert, Abandon or Forsake. You shall not find me over Scrupulous at Phrazing the Articles, so the thing it self be done, and done it must be, Kinsman mine, for I never March thus Arm'd to the Field in vain. 95 Will this fair offer end our Civil War, name which of them you like the best and I'le besiege the other; remember, 'tis unconscionable to have two Mistresses at once. And do you think 'tis very Conscionable in you to come with two Weapons at once, my Youth in a Basket? (For thus 100 henceforward I will call you from the fashion Hilts you have to your Crab-tree-blades.) But why in Armour? Because you had not the Wit to forbid it; but why (for 'tis my turn to ask questions now) did you choose Cudgels? 105 Because I think no Woman worth the having a man kill'd for. I'm half of thy mind, and therefore I think fit to kill thee for a couple of Women; thou seest my Quarrel is two to one better than thine. I'll be sworn I only see your Arms are so ; but I must say what 110 you will, because you are the better provided. O, am I the better provided? Truth will out at last. Acknowledge but that to my brace of Mistresses, and that shall serve me as much against all thy pretensions, as thy Resignation could: I like a voluntary Confession better than a forc'd one, 1X5 and since thou has so ingenuously declar'd the Truth, I will, in requital, turn my intended Tragedy into a Farce. Come, Sir, Uncase, Uncase! That was your Word when you thought me Sick, and that shall be my Word now I have made you so. What do you mean? 120 Why, I mean you shall off with your Cloathes, and Dance a Jigg to the Instrument call'd a Bow and Arrows; that's Cupid's Fiddle, and therefore the most fit Musick for a Lover. You will not be so Barbarous?

MR.

ANT. CUDD.

ANT.

CUDD.

ANT. CUDD.

ANT. CUDD.

ANT.

CUDD.

ANT. CUDD.

ANT. CUDD.

ANT. CUDD.

ANT. CUDD.

ANT. CUDD.

ANTHONY

545

Lord! Kinsman! Where can you have been bred, that count 125 Dancing a Jigg a Barbarity? Why, here's no Musick. Yes, but there is; you know not what Melody a pair of long Plimouth Castinets will make; sowre Wood may produce sweet Musick, for Harmony, as my late Tutor has told me, springs 130 from discord. Bless me! [Cudden starts back and shrieks terribly. And me too. Oh·! What's the matter? [Ant. shrieks too. Ah, was it not enough to come with Bow and Arrows? Nay, Back, Breast, and Head-Piece too, against one of your own 135 Flesh and Blood, but you must also hire six Murtherers to cut his Throat too. What six Murtherers, in the Name of Wonder, did you talk of? As if you knew not! Look where they all stand drawn up in [21] Battalia behind you. 140 Behind me! Preserve me, Heavens! Murther, Murther, Help, Help! [Ant. turns about. Cudd. in the mean time seizes him behind, takes away his Bow and Arrows, then his Helmet, which he claps on his own Head. What's Latin for a Calves-head? Why, 'tis Caput-Anthony now. YOU told me another word for it this morning, did you not? 145 Yes, yes, then was then, but now is now. I have the better Head-Piece now, as I take it. Yes, yes, as you take it, you have it. Come, Uncase, Uncase : Alas, Cousin, I doubt you have a very careless Physician, that knowing you have an Ague, would 150 suffer you to wear so much cold Iron about your Heart; I protest, 'twere enough to put you into a shaking Fit. Besides, I have a kind of grudging to see you Dance a Sarabrand to a Pair of long Plimouth Castinets, for sowre Wood may produce sweet Melody, since Harmony springs from Discord, as a 155 Modern Squire did very lately most smartly observe. What pity 'tis you should have so much Wit, that it should even spoil your memory. Yet, in my Misfortunes, I have this Consolation, You Disarm'd me twice Coward-like, behind my back. 160 Well! Thou shalt no more upbraid me for doing things behind thy back, for thou shalt see I'll Cudgel thee to thy Face, and in spight of thy Teeth too. [Cudden Lams him upon his Armour. Oh, hold ! And I'll yield to any Conditions, so parting with my two Mistrisses be none of them. 165 If thou dost but Name two Mistrisses again; nay, if thou dost but so much as think of them till thou art dead, I will so Car-

546

ANT.

CÜDD.

ANT. CUDD. ANT. CUDD. ANT. CUDD. ANT. CUDD. ANT.

CUDD. ANT.

CUDD.

ANT. CUDD.

DRAMATIC

WORKS

OF

ROGER

BOYLE

binado thy flesh, that I'll make thee look like a St. Lawrence on a Grid-Iron. For all your Fury, Wrath and Indignation, 'tis somewhat se- 170 vere that a loser may not talk. But now I, that am but a simple Man, must do as great Nations oft have done, Take Laws from their Conquerours; and therefore to the Sentence you shall pronounce, I must, though in Tears, submit. That shower has softned my Hand and Heart, and since so 175 bravely thou dost yield, I will as pittifully use thee. Know therefore, that as Misfortunes ought not to elevate a Generous Soul, so Prosperity ought not to deject it: Therefore, as when I was under Fortunes Wheel, I offered to leave thee one of the Ladies, so now I am on the Top of it I will do the like. 180 There is Comfort in that, for half a Loaf is better than no Bread; but which of them, dear Cousin, will you leave me? She that I do not like my self, you may be sure ; but if she I like so much as gloated after by thee, take what follows. Pray make haste to Name she you choose; for'tis strange how 185 my Heart goes Pit-a-pat after the other. Why then, she I love is Mrs. Isabella. But are you sure of it? Sure of it said you ! Why, what does the Ninni-hammer mean? Sweet Cousin, Name the Lady again, for a Man can never 190 have his Mistriss too often at his Tongues end. Why, I tell thee again, 'tis Mrs. Isabella. [22] Mrs. Isabel, Mrs. Isabel·. Well-a-day, what Luck is this? [Leaping and frisking. Why, a Duce, did you not tell me so before? It would have sav'd all our Duels, for 'tis Mrs. Phila195 delphia is my Mistriss. What a Pox made you say, all this while, you were in Love with both? That was my Art, dear Cousin; I did as Crafty Merchants use, ask double Rates to get half for their Commodity. Besides, 200 you Hector'd me into saying I lov'd both, because you scorn'd to Name the one you Lov'd. Alas! Cousin, do not you think I know one Woman is more than enough for any one Man? Why, do you think I did not know that as well as you, and therefore Quarrell'd with you for being such a Glutton, as to 205 Ingross more by half than you could Digest, and yet would keep me fasting? And is it so i'faith, dear Kinsman? Let's Lock, Lock, and in this Embrace let all Discord be strangled. [They hugg. Content — Now Shoulder your Back and Breast and march 210 off, for I am sure 'tis time to console our Friends; they will be in pestilent frights if they have heard we have been in the Field. [Ex. Cudden.

MR.

ANT.

ANTHONY

547

Considering too the Mortal Weapons we went out with. Well, go thy ways, Anthony, thou art come ofi with Honour; maugre all the frowns of Fortune, and the Fallacies of thy Kindred. I will like this fertile Brain of mine the better whilst I live: Thus I March off loaden with my own Spoils. Would my two Mistrisses, that were, saw this my Oratio-Ύήχίmph. [Ex. Ant. with the Armour on his Shoulder.

215

[SCENE II. The SCENE a Chamber in Sir Timothy's House.] Enter Sir Timothy, his Lady, Pedagog and Winifred. SIR TIM. PED. SIR TIM. PED. LADY. PED. SIR TIM. PED.

G. WIN.

SIR TIM. G. WIN.

LADY.

PED.

Gone out did you say! and to fight? 220 Alas, Sir, 'tis too certain. Know you the Quarrel? I fear 'tis a quarrel of Love. I hate Love, for it begets more Quarrels than it begets Children. 225 I suspected a Fray would insue. Why? Because Mr. Cudden said he scorn'd to tell Mr. Antony whether he were in Love with Mrs. Isabel or Mrs. Philadelphia, which so warm'd my sprightly Pupils Courage, for in 230 punctilio of Honour he is quick as Tindar. B y my Maiden-head, Sir, I fear the two Ladies they fought for do but laugh at them, for they were one day forking at them with their fingers as soon as their backs were but turn'd; and those that will make signs of Horns at their Servants before 235 they are married, too often will bestow real Horns on them after they are married. Those are not dangerous Horns, Goody Winifred, that are made behind our backs. What, would you have them make Horns to your Faces? That 240 were too Impudent; but that which I lik'd worse was, when those two sweet Lambs, Mrs. Betty, and Mrs. Nan, chid Mrs. Philadelphia and Mrs. Isabella, for making those signs of the Cuckold at Mr. Anthony and Mr. Cudden, those two Viragoes in Petticoats bruzzled up to them like two Wooing Turky- 245 cocks, and so rated them for their Chast reprehension, as they made them blush for being in the right. I protest, my Timothy, your two Charges are so haughty, as I fear they will Infect my Nieces with the Spirit of Mutiny; I [23] would you had bestow'd them well in Marriage: I do not 250 mean to your Son and Nephew, for, on my Word, there they will be over-match'd. M y Excellent Lady says true; 'twill be as unequal, as if a

548

G. WIN.

SIR TIM. PED.

SIR TIM. PED. SIR TIM.

LADY. PED. G. WIN.

D R A M A T I C WORKS

OF

ROGER

BOYLE

Flanders Mare and a Golloway Nagg were put to draw together. They may promise to serve, honour, and obey; but if they do not make their Husbands do it, I'll be content to eat my Liturgy. YOU must not Judge of Anthonys and my Nephews Spirits by what they seem, while they are Wooing. But I may Judge of their Mistresses while they are Wooed. Say, Sir, I understand neither Phisiognomy nor Palmistry, if they do not prove mad Wives. Marriage will tame Women. I have heard it will rather tame men. However, because they are rich Heiresses, let our two young people Court 'em: I am resolved, whate're it cost me, they shall have them; for they had better be Rich Cuckolds than Poor Unforked men. But while we are thus talking of them, they may be killing one another, for they are both brisk Lads: Let's therefore separate the sooner to find them out, and part them. [Ex. Sir Timothy. I am beholding to you, Mr. Pedagog, for the good words you put in. Ah, Madam! I will put in a good deed to serve you at any time. (shaking her head.) B y the Mass, I like not that Expression. [Exeunt several ways.

255

260

265

270

275

Enter Mr. Anthony, Mr. Plot, Mr. Cudden and Mr. Art. ANT.

PLOT. CUDD.

I have told you in Octavo what we did in Folio, and on my Credit, Jack, never any Duel was replenish'd with more admirable Vicissitudes whilst 'twas fighting, nor had a more Amicitious Epilogue in the Close. Y o u would have thought we had fought for the Empire of the Universe, such were our Animosities; and when we came to examine our Quarrel, by this Light, we had none, for he had chose Mrs. Isabella, and I had chose Mrs. Philadelphia. YOU see in this, how blind a thing Fury is; two sober words amongst you had prevented all this Noise and Blood-shed. The noise might have been prevented, I confess, but Fate it self could ne'r have hindred the blood-shed, for there was none.

PLOT.

How!

ANT.

None, I tell you, for what need had we to shed one anothers Vermillion, after we had found out we were not Rivals. 'Twas well for you we were not, for had we been, I would have made you — What would you have made me? I would have made you quit your Love or Life.

CUDD. ANT. CUDD.

None?

280

285

290

295

MR.

ANT.

CUDD.

ANT.

CUDD. ANT. ART. PLOT.

ANT.

CUDD. ANT. PLOT. ART. ANT.

ANTHONY

549

I would have you to know, I scorn your Expressions; I hate to quit my Love, and since you urge me to it, I'll dye ere I'll quit my Life. Tony, if you so sawcily and diametrically contradict me again, 300 I will a second time Discipline your Shoulders; you know I have taken measure of them with my Plimouth-yard. Nay, give the Devil his due, you look like a Taylor; but to contradict you the second time, I tell you, I defie you to quit Mrs. Isabella, and Court Mrs. Philadelphia, which if thou dost, 305 I'll serve thee such a Trick — What Trick, thou baffled Armour-Bearer? What Trick, [24] I say? Speak or I'll — Why, Cousin, I'll quit Mrs. Philadelphia, and Court Mrs. Isabella·, and is not that just such a Trick? 310 For all your Fury, Mr. Anthony has made good his words, and in a way you cannot be offended at. Come, come — leave off these Civil Wars, and Unite your Forces to Beleaguer your two Mistrisses. You'll find a tough Siege of it; 'twere therefore fit you began your Approaches. 315 Right, Mr. Plot, I protest I am on Thorns till I draw up before them, and when I have began my Attacks, if I do not pierce her Bulwark, I'll give her leave to hang me in a Horn-work. This Errant Poltrone makes use of so many War-phrases, that I admire they do not fright him. 320 Come, Mr. Plot, and Mr. Art, you must help us to meet our fair Enemies; I long to be at the Encounter. Bravely spoken, my Amorous Mirmidón. We'll go and get you the Field of Battel assign'd; then be your Guides to it. 325 March boldly on, for the Old Proverb's true, Faint Heart ne'r with Fair Lady had to do. [Ex. omnes.

A C T IV. [SCENE I .

T h e SCENE a C h a m b e r i n S i r Timothy's

House.]

Enter Anthony, Cudden, Plot and Art. PLOT. ANT.

CUDD. ANT.

Well, Gentlemen, we have got the Ladies to give you audience, and now be sure to ply them close. Teach your Father to get Children! Instruct me in the affairs of Love! 'Slid, do you think I have learnt Ovid de Arte Amandi for nothing? That's pretty in faith; make Love by Book! Buz, Mr. Tony, if ever you get a Mistress, I'll be content to lose mine. How the Ignorant will always reproach the Learned! Why, I

ξζο

CUDD. ANT.

CUDD. ANT.

CUDD. ART. PLOT. CUDD. ANT. ART. PLOT. CUDD. ANT. CUDD. ART. CUDD. PLOT. ANT. CUDD. ANT. CUDD. ART. PLOT.

D R A M A T I C WORKS

OF

ROGER

BOYLE

tell you, Kinsman Cudden, but for my Civility to you I wou'd now have had a Couple. 10 Civility to me? do not Christen the Child by a wrong name. If you do. Marry, come up, Don Cuddenl for by your Rodomantado's, you should be a Castilian. Left me, did you say? Know, I scorn your leavings! Y o u only named your own Mistress, and 15 I discovered to you, who was mine. Tony, take heed; wake not a sleepy Lyon. Lyon? an Essex one then, and without a White face too; nay, since you whet me so, I must tell you all the little advantages thou thoughtst to have got over me, were by Treacheries: Yes, 20 l'le draw your verbal portraiture; you are one that will speak a man fair to his Throat, and cut his Face behind his back. Thou Slanderer of thy own flesh and blood, take that for thy Lye. [Offers to strike, and Plot and Art hold him. Hold, hold, why this heat? 25 I heard nothing from Mr. Antony that might offend you, [25] Mr. Cudden. W h y ! did you not hear him say, " I would speak a man fair to his Face, and cut his Throat behind his back " ? NO, Marry, did I not. I appeal to these Gentlemen; what say 30 you, Sirs? He only said you would speak a man fair to his Throat, and cut his Face behind his back. Which was, indeed, the Anagram of what you imagin'd he said. 35 Hey-day! What new word is that? Well, Cousin, I forgive you ; you see now in your own case how Impartial a man you are. 'Slid, affront me again? take that. [ O f f e r s to strike, but is stopt. What's the matter now? 40 Death ! Did you not hear him call me an Impartial man to my face? Y o u had best turn that into an Anagram too. 'Tis past my skill, I assure you. And pray, angry Kinsman, what would you have said, if I had called you a partial man? (putting his finger in his mouth.) There I was a little out of the way — pox on your hard words, they turn my brain. 'Tis well ! I am not as Chollerick as you ; here would have been a foul house then. Yes, of your making. For shame do not thus discompose your selves, when you are going to Court your Mistresses. They may think you ill humour'd.

45

50

MR. ANTHONY ANT.

55I

C o m e then, shew us the w a y to them. A s m u c h as I love fighting, for this once I h a d rather assault m y M r s . than m y K i n s m a n . F a r w e l the warlike b r o w ; Cuiden, l ' l e now p u t o n m y Halcion face. W h a t ' s t h a t Halcion face, M r . Arti is it a n y thing that savours of affronting me? N o , no, nothing of t h a t N a t u r e , I assure y o u . T h i s is the door — I'le knock. [He knocks.

CUDD. ART. PLOT.

The Scene [SCENE I I .

House.]

and Isabella appear with their Hoods over their and B e t t y also are discovered. C u d d e n runs to and A n t o n y to Isabella, whom they lead by the Stage.

CUDD.

M a d a m , I come to l a y m y H e a r t to y o u r F e e t .

PHILAD.

A t mine?

CUDD. PHILAD. CUDD. ANT.

Y e s , yours, M a d a m : I do not use to E a t m y words. A r e y o u n o t mistook, M r . Cudden? 'Slid, I d o u b t I a m ; b u t h o w shall I retreat? A s I a m an Heir, M a d a m , I a m come to y o u on the like honourable E m p l o y m e n t . Sure, M r . Antony, y o u t a k e m e for m y Sister. B y the M a s s , t h a t were p r e t t y ! w h a t ? mistake m y Mistress? do y o u think w e are p l a y i n g a t B l i n d m a n s - B u f f ?

ISAB. ANT.

60

opens.

T h e SCENE another C h a m b e r in Sir Timothy's

Philadelphia Faces. N a n Philadelphia Hand on the

55

65

70

ISAB.

W h y , who do you think I am?

ANT.

AS if the palpitation of m y A m o r o u s H e a r t did not whisper [26] in m y E a r , y o u are the Conqueror of it, M r s . Philadelphia. If y o u will not trust me, vouchsafe to trust y o u r o w n E y e s . 75 [She pulls up her hood.

ISAB. ANT.

CUDD.

ANT.

CUDD.

H a ! a p o x of this H e a r t of mine, t h a t m u s t be p a n t i n g after the w r o n g P e t t i c o a t ; I'le m a k e it keep Lent for this Impertinent R a m p a n t n e s s . Cudden too will b e a t me. K i n s m a n , w e m u s t counter-march, take the better for the worse, and resign me u p m y Richer for Poorer. I h a d like, b y a meer mistake, to h a v e beaten u p the Quarters, while thou w e r ' t beating u p mine. S o f t , Sir, 'tis not m y custom to be so inconstant. Since Fortune has flung me on this beautiful L a d y , here I'le fix: F a c e about, Tony, a n d as y o u were. V e r y fine, and, p r a y , w h a t did w e fight our four D u e l s for this M o r n i n g ? H a v e y o u f o r g o t our Capitulations? A s I t a k e it, t h e y were not as y o u expound t h e m now. If thou lik'st not m y Exposition, a word to the Wise ; y o u k n o w h o w to write, where I dwell, a n d so forth.

80

85

552

ANT.

CUDD. ANT. CUDD. ANT.

CUDD. ANT.

ISAB.

CUDD.

PHILAD.

ANT.

CUDD. ANT.

CUDD. ANT.

DRAMATIC WORKS

OF

ROGER

BOYLE

Well! go thy ways; thou art the first man that I ever saw 90 choose to play at Hab-nab for a Wife; at least let's shuffle the Cards again. No, Sir, 'tis a sign that you have the worst game, when you offer to deal again. IS this then your Median and Persian-like resolution? 95 More, this is the resolution of a Lover, and before all these wittnesses. Ha, ha, ha, ha! What's the matter now? Cudden, I have over-reach'd you, worse than when I came with 100 Bow and Arrows against your Case of Cudgels: For I was necessited, when you said you were in Love with Mrs. Isabel, to seem joyful at it, and to declare my Mistress was Mrs. Philadelphia, when all the while I protest my Heart was ready to fly in the Face of my Tongue for telling such an Egregious, 105 Monstrous and Detestable Lye; therefore, with blyth Countenance and merry Glee, thus I turn to my happiness, and leave you to your misery: B y this light, Mrs. Isabel, I was always in Love with you, and you only. What? D o you think after so much Inconstancy, and before so NO many witnesses of it, I'le accept you for my Gallant? You may go whistle after a Mistress for me. Ha! ha! I could almost fall in Love with Mrs. Isabel for this witty Justice of hers; Tony, thus I turn to my happiness, and leave you to your misery. 115 You are exceedingly mistook, Mr. Cudden, even as much as Esquire Tony. Do not I know you fought for my Sister, and your mistake flung you upon me? I must be gain'd by merit, not by chance. Ha, ha, ha, Cudden, methinks your Mistress is somewhat witty 120 in her Justice too: Commend me to Constancy in a Lover: You are likely to have a Campania to Exercise that Vertue in. DO not jeer me, for if thou dost, I'le wreak my Anger on thee. Methinks we need not fall upon one another, while each of us has an Enemy to deal with : Come, let's rather make one brave 125 Charge, and try to recover the day. Agreed. Mrs. Philadelphia, I will not be deny'd; you must accept me for your Sweet-heart. [She turns from him. Cudden, pursue your point, and the Victory will be yours infallibly; for you have already made her turn her back. — [27] Pretty Mrs. Isabel, behold a Wandring-Pilgrimical Heart 131 begging an Alms at the gate of your Love; if you drive it from thence without relief, 'twill dye by the way, and I'le lay the death of the poor thing at your door. Consider whether you

MR.

ANTHONY

553

had rather be haunted with my person, or by my Ghost, for one of them cannot be avoided. [Isab. smiles. Tony, continue this way of pleading; you see it takes exceedCUDD. ingly by her Smiling at all you said. Pray, which is better, to have a Mistress turn a backside to her Lover, or Laugh at him to his Face; these are our two lamentable Cases. ART. Nay, Ladies, now you deal too Tyrannically with your Lovers. PLOT. Their fault indeed is great, but not unpardonable; for they have been more unfortunate than guilty, since you had not only your Hoods over your Faces, but you had exchang'd Petticoats. ANT. Yes, yes, 'twas those damn'd Hoods and Petticoats, as Mr. Plot very truly observes, made us run into our mistakes; therefore 'twould be hard, if we should loose your favour because we cannot see through Taffety. CUDD. No Judge in England, wou'd condemn us for not doing Impossibilities. ART. Nay, if you do not Pardon Penitent Lovers, 'tis pitty but you should Marry hard Hearted ones. ISAB. Y o u two I find are Brib'd for your Friends; but yet to show you we will not be Judges and parties, wee'l appeal to the Sentence of Mrs. Betty, and Mrs. Nan. PHILAD. N a y , and stand to it too. CUDD. So will I — [Aside. (If I like it. ) ANT. I will be bound by it Hand and Foot. Only, my pretty Judges, remember, if you lay wrong Foundations, the thing cannot stand long. BETTY. I accept the power. NAN. So do I. ANT. Silence! Hear the Court. BETTY. I decree all past mistakes shall be forgiven and forgotten, and the Squires shall now choose which each of them will give Chace too. NAN. But if they change again, my Sentence is, they shall be Hang'd for Currs. CUDD. I protest I never saw at an Assize more quick and Equal Justice Administred. ANT. Y o u may talk of your Cooks, your Crocks and Ploudens, but Mrs. Nans and Mrs. Bettys Reports for my Money. BETTY. Silence! hear the Court out: I also order that each of them shall make an Extempore Stanza to her he declares for. ANT. Take notice of that, Jack, 'Twas, surely as I am a Lover, in my favour, for Cudden will as soon make a pair of Japan Boots as a Stanza. CUDD. (whispering to Art.) {Tom, as thou lov'st me, prepare a Stanza, and whisper it my Ear, that it may pass for one of my making. )

135

140

145

150

155

χ 60

165

170

175

180

554

DRAMATIC

NAN.

WORKS

OF

ROGER

BOYLE

I also Sentence these two Lovers this Night on pain of loosing their Mistresses to give them a Serenade under their Windows, and a Crotesk or Burlesk. CUDD. Now cannot I tell what the meaning of Crotesk or Burlesk is; sure they are Law Terms. 185 ANT. Cousin, do not discover your Ignorance: I'le interpret to you anon what's the meaning of those two hard words. D o you send Trick to get the Musick and their Boys that Dance the Jiggs, and leave the rest to my managing. CUDD. 190 I'le undertake that, or lay the blame on me. BETTY. You like our Sentence, I hope, and will conform to it. M PHILAD. 'Tis a hard one, but we will obey. ISAB. Since our promises are past, we are bound. Tony, I'le name first. CUDD. Thank you for that. ANT. 195 Why, the She Judges have order'd that each shall choose CUDD. whom he loves best, and I must have the preference, for I got the D a y in Duel. Lord! What an Un-mathemattical Head you have: How a ANT. duce can I choose if you choose first? For then I must take 200 what you leave, and that would be a fine Choice! I'le have Mrs. Betty and Mrs. Nan expound their own Act. CUDD. {whispers.) (Hark ye, Tonyl A word in your Ear; let me choose or I'le beat thee as black as my Mistress Eyes. ) ANT. What say you, Ladies? Methinks my Kinsman has whisper'd 205 in my Ear a very good proposal: 'Tis that we shall draw Lots who shall first choose. ALL. Content, content! CUDD. Another word in your Ear. (Forswear what thou has said or 2x0 I'le Bastinadoe thee to Mummy.) ANT. Why do you whisper so? You need not be asham'd of your proposal. 'Tis as equal a one as the former and shows a pretty variety in your Invention; for he offers that Mrs. Philadelphia and Mrs. Isabel should determine our difference, to which I consent. 215 CUDD. Tony, another word in your ear. ANT. What, more Proposals? This comes of commending the fertility of your contriving Noddle. Why, I tell you, we all are satisfy'd in it, and 'tis superfluous to give more testimonies of it; 220 adone, adone, I say. CUDD. I must, and will speak to you again. [Takes Ant. apart. ANT. Well, I am loath to deny you any thing. CUDD. (Yield me the preference, or with hand and foot I'll affront thee instantly before all the Company. 225 ANT. {whispers.) Who would you choose? CUDD.

Mrs.

Isabel.)

MR.

ANT.

CUDD. ANT.

ART. CUDD. ANT.

CUDD. ART. CUDD. ANT. CUDD. ART. CUDD.

ART. ANT. CUDD. ANT.

CUDD.

ISAB.

ANTHONY

555

NOW, Ladies, we have sav'd you the pains of ending our Dispute, we have done it our selves; I chose, and for ever dedicate my heart to Mrs. Philadelph. Why, what an Impudent Fellow art thou to say thou chosest? 230 Why, is not Mrs. Isabel your Mistress? Deny it if thou dar'st. You all see I scorn whispering; I am for open dealing in Affairs of Love. Come, come, your Stanza, Cudden. Yes, yes, your Stanza! {to Isab.) Madam, I chose you, and left your Sister to Anthony. 235 Your Stanza, I say; in that I'll allow you the preference, because I have it in this. Come, come; alack, how long you are Studying: Verses must come easily. {Tom, art thou ready? Not yet, but I will instantly. 240 Give me a tugg as the signal, when you are prepared. ) — No, Cousin, you shall begin. Sweet Cousin! That honour shall be yours. I will never be out-done by you in Civility. Nay, nay, you are the Scholar, and therefore should lead the 245 way. — (Are you ready yet, Tom? Almost. [29] 'Slid, make haste or I shall be disgrac'd.) Come, Anthony, methinks your Muse is somewhat Hide-bound. (Art thou ready yet? [To Art. 250 Within a moment I shall. ) NO, no, my Muse is only civil, and desires to let that Stranger, Madam, your Muse, go before her Ladiship. (Not yet, TOOT! 'Tis a damnable long moment.) I protest, Cousin, I will not versifie before you; remember I 255 have sworn first. Cudden hems three times, spits as often, then says: (NOW Tom, or never!) Mrs. Isabel, will you be pleas'd to stand out, that I may make my approaches to you without interruption? Well, Sir, I obey you! Now your Verses! 260

CUDD. {to A r t . )

(Not yet?

ART. CUDD. ANT.

Immediately. ) I have got such an Impertinent Rheum. [Hems and spits. Sure, Mrs. Philadelph, my Cousin has some great Imagination, for I see 'tis like to choak him in bringing it up. CUDD. Hey-day, I think you have a design to affront me. ANT. NO, no, I leave that Office to your Verses to do for me. Art plucks Cudd. by the sleeve. CUDD. {to Art.) (Blest Relief! Both for me and Tony, for I had no way left to wheedle away the time one moment longer, but

265

556

DRAMATIC WORKS

OF ROGER

BOYLE

to fall foul on him.) Now, Mrs. Isabel, listen to the Virginity 270 of my Muse. ISAB. I listen, Mr. Cudden, but methinks you are long a falling on. ANT. {to Plot.) (I would not have had such a dry bob from my Mistress; no, not to have been the Author of Orlando Furioso. ) Art is to whisper the 275 CUDD. Fair Mistress Isabel ; Stanza line by line to I like you so very well, That my Love no longer can tarry; Cudd. who is to reThe fault then is plain peat it after him. In you will remain, If we do not instantly Marry. 280 How do you like this Stanza, Tony? ANT. 'Tis a pretty double Stanza, for two of you spoke it. BETTY. Mr. Cudden, let me advise you to get a great Cold, and give it your Prompter, that he may be sure to whisper softlier. ISAB. I hope, Mr. Cudden, your Musick anon, and your Dancing, 285 will be as good as your Verses. CUDD. Madam, no Musick in the World like the Trill of a smooth Madrigal. ANT. Now, Mrs. Philadelphia, give ear; and you, my two fair Judges, hearken whether I perform your Sentence Catagori- 290 cally. [Cudden goes near Anthony. Stand off, I say, I need no Prompter, though you did. (Hems thrice.) Bright Mrs. Philadelph, I love none but your self: And if you love me at that rate, 295 Without ever tarrying For that dull thing call'd Marrying, We'll fall to the Effects of it strait. Cudden was affraid, forsooth, to lye with his Mistress, till [30] the Parson had conjur'd them into one Bed; but I offer 300 mine the civility of a Fornication, as a Prologue to the Play. CUDD. No, marry, Sir, was I not affraid, and if yet Mrs. Isabel will walk a turn alone with me in the Garden, I will present her with a Green-Gown, without staying for the help of a man in a Black Gown to do it. 305 ANT. Pish! This is after I put you in mind of it; and besides, you offer'd it to her in dull Prose. Now let Judge Betty, and Justice Nan, determine whose Stanza was the best. BETTY. Mr. Cudden's was the most civil, and Mr. Anthony's the most Amorous. 310 NAN. Mr. Cudden shew'd most Discretion, and Mr. Anthony most Mettle. ANT. Hang Discretion in Love, Mettle is the Vertue there; a Discreet Passion is a Bull. CUDD. What Calf is that? Call a discreet passion a Bull? 315

MR. ISAB.

ANT. PHILAD.

ANT. CUDD.

ANT.

ANTHONY

557

No Quarrelling, Mr. Cudden, your Kinsman is a merry man. And so wou'd he be too, if he were not a sad fellow. Mr. Anthony, we leave you and Mr. Cudden to prepare Musick and Dancers; for if you fail of giving us those Entertainments precisely at ten this Night, Bonos Nochios to your Loves. 320 And Bonos Nochios to the World, whenever you bid such a good Night to my Passion. [Ex. Women, Art and Plot. What! Do you think I'll fail my Mistresses Assignment? That were pritty i'faith. Come, Tony, we'll go send Trick to engage our Fiddles. 325 Else our Sweet-hearts will be devilishly out of Tune. [Ex. Arribo. Enter Sir Timothy, his Lady, Pedagog and Winifred.

SIR TIM.

Moverne! No, I am resolved nothing shall alter me; two such Rich Heiresses may not, nor shall not be lost by my Son and Nephew. I can hamper their Estates if they are stubborn. LADY. Would my two Nieces had Isabel and Philadelphia's Estates, 330 or they two had my Nieces humours. PED. Alas, they now jeer them so sensibly, and the Gallants bear it so patiently, that I lose my temper. G. WIN. If Love were ever blind, he is so in Mr. Antony and Mr. Cudden. Why, Madam, I tell you they have no feeling; and there- 335 fore why should they pretend to be Lovers? Besides, I saw Trick and the two gibing Damsels close in Consultation, and when I surpriz'd them at it, they started as if they had seen a Ghost, and immediately vanished. SIR TIM. When was this? 340 G. WIN. This After-noon. PED. That Trick, Sir, has his Name from his Nature, and I more than suspect he is a Pensioner to Mr. Plot and Mr. Art. SIR. TIM. I have long doubted it. G. WIN. Nay, you may be sure of it, if you watch him this Night as a 345 Cat does a Mouse; for, by my Modesty, some design is ripe to be Executed, in which he has at least a finger, and therefore, Sir, let us separate our selves the better to discover. SIR TIM. I like Goody Winifred's Advice; Wife, let us take our Quarters in the Garden. 350 LADY. Agreed! For methinks I smell some Roguery. [JR] [Ex. Sir Tim. at one door and his Lady at another. Ped. offers to go out, but is stopt by Winifred. G. WIN. Soft, Doctor Amorous! I have only dismist the Knight and his Madam, that I might read your Worship a Curtain-Lecture without Interruption. PED. My Reverend Chuck! What's the matter now? 355 G. WIN. Lord! How ignorant you seem! Have you forgot you said you

558

PED.

G. WIN.

PED. G. WIN. PED. G. WIN. PED.

G. WIN. PED. G. WIN. PED. G. WIN.

PED. G. WIN.

PED.

G. WIN.

DRAMATIC

WORKS

OF

ROGER

BOYLE

would put in a good deed to serve my Lady? Was that a Sacerdotal Expression? What a Cri tick Jealousie makes a Passionate Lover! By my Dotage on those Pritty Pig-nies of thine, I meant no hurt; let that solemn vow suppress thy doubts. HOW Equivocally your Speech is Phras'd; perhaps you think having two strings to your Bow in affairs of Concupiscence is no harm. Concupiscence ! Yes, Concupiscence! Does that term of Art fright you? All my Concupiscence is confin'd within thy Parish. But how few Parsons are there that do not covet double Benefices? None do, when they have in one more than they can turn to; and that I'll be Depos'd I have in thine. But to convince thee by other Evidences, that thou art the Mistress of my Heart, I'll trust thee with a secret which I would not confess to my Ghostly Father. What is it, my Dapper-Ztorame? Why, Sir Timothy is smitten, and has made me his Love-Ambassador. That is his Pimp! A Reverend Employment for one of your Cassock. Nay, I am satisfy'd his is a Platonick Flame; there's no more heat in it than old rotten Wood that shines. But that Wood laid on the fire will burn; and who knows but his may do the like, when his Mistresses eyes kindle it. But what's her Name? 'Tis even Mrs. Betty. 'Slid, that mad Wench will put him into more shakings and burnings than an Ague: For old men to desire to see their Unkles is Natural, but to desire to see their Nieces is Prodigious. However, be silent in the business; leave me to improve it, and if we two do not get more by it than the Lover and his Damosel, say I am no Witch. Presto, be gone ! Here's Tony and Cudden; we must not be seen together, they will discover our Amours. [Exeunt.

360

365

370

375

380

385

390

Enter Anthony and Cudden. ANT.

CUDD.

I am glad at heart that Trick has engag'd the Musick and their Jigg-Boys, for in this merry time 'tis two to one they had been bespoken by others. Kinsman, though they had been bespoken by Men, Women and Children, yet I would have unbespoken them again, though it had cost me twenty Duels. What ! did not I under-

395

400

MR.

ANTHONY

559

take to bring them at the hour, and to the place? And when I am once engaged in a business, fall back, fall edge, I will go through stitch with it. Enter Trick hastily. TRICK.

Oh, Sir! The Musick and their Dancing-Boys, as I was conducting them hither, were seiz'd on b y a Cast of young Gal- 405 lants, who swore top Top-gallant-high, that, if they did not come along with them, they would spit them on the place; and, as an earnest of it, drew their Tucks, and fell a slashing among us worse than two Back-Sword-Fencers, and drove the Fid- [32] dlers before them like a Flock of Geese. 410 CUDD. Anthony, for this affront they shall lose their Lives. ANT. But, alas, Cousin! we shall lose what's worse to us, viz. Mrs. Philadelphia and Mrs. Isabel. CUDD. Thou sawcy Clown! how durst thou put thy Mistresses name before mine? I could find in my heart to begin my dire Re- 415 venge on thee, and so proceed to the end of the Chapter. ANT. Lord, how quarrelsome you are ! is it not natural for a Lover to name his Mistress first? CUDD. (to Trick.) Why didst thou not tell them they were bespoke for me? 420 TRICK. Yes, yes, I did! but alack-a-day, would I had not, for they beat me the more rufully. CUDD. Beat thee! TRICK. But, after, they said they were sorry. CUDD. O, did they so! that qualifies. 425 TRICK. But 'twas because it was not your Worship, whom they said they had much rather have lurry'd than me. CUDD. I scorn so much as to enquire after the Names or Lodgings of such insolent Puppies. TRICK. Nay, they added, they knew your Worship had as ill an Ear in 430 Musick, as a mangy Brewers Horse, that then by accident was passing by. CUDD. Ha, ha, ha! Antony, on my life, the Rogues were drunk: That ridiculous Comparison has converted my rage into laughter. 'Tis a strange thing, Cousin, what diverse effects Wine pro- 435 duces in men; some it turns to Apes, some to Lyons, some to Elephants, and some to Bully-Rocks, of which latter sort our Fiddler-stealers are; and so for the present I let them pass. But mark what follows, for I am a kind of Prophet. ANT. SO am I too, Cousin; and I prophesie we shall lose our Mis- 440 tresses. You know the Sentence of the Court, and you undertook to get the Musick and Jigg-boys, or else you bid me lay the blame on you; which by my defeated hopes I will. I t will be a comfort however when I can safely swear that I lost my

560

DRAMATIC WORKS

OF

ROGER

BOYLE

Mistress by your fault, and not my own; for gone she is, I 445 know, since 'tis impossible to recover a set of Scrapers before ten, for 'tis now half an hour past nine. Nay, Mr. Anthony, things are not yet so desperate, for just now I saw three men pass b y with long Cloaks, and my Eyes deceiv'd me if I did not see a glimpse of some Instruments 450 under them. This Intelligence has some life in it: But how a dickings shall we do for a Jigg? A Jigg! that's pretty! why, I tell thee, Kinsman, I never saw Wake or Fair, that I did not out-Jigg all the men at it; the 455 Women too being the Judges! But that which troubles me most is, who shall dance the Dances with the two hard names? Pox on't, I forget what you call them. The Crotesk and Burlesk-Oa.nces. Yes, yes, those damn'd Crabbed names will never sink into my 460 pericranium. Why, those are only French names for Jiggs! Why, there it is! is it not enough that we have our Laws, the names of our Meats, and Drinks, and our Diseases French, but we must have our Dances too? I tell y o u ' t i s abominable! 463 But, Sir, the Crowders I told you of will be gone out of sight. [33] Away, Trick, and keep them at B a y till we come up. Tell them we'll give them double pay; that is, if you cannot win them with single. Hallow to us when you have boarded them, and we'll bear up 470 to you. [Ex. omnes.

TRICK.

ANT. CUDD.

ANT. CUDD. ANT. CUDD.

TRICK. CUDD. ANT. CUDD.

[SCENE I I I .

T h e SCENE t h e S t r e e t i n f r o n t of Sir Timothy's

House.]

Enter Isabella, Philadelphia, Betty and Nan, in the Balcony. Plot and Art appear below. ISAB. PLOT. PHILAD. ART. NAN. BETTY.

ART.

.

Has Trick play'd his part as we directed it? I think he has done it more dexterously, and all things take above expectation. How long will it be e'er the two Squires come? Just as long as our Serenade and Dances will take up, for we have Calculated all things to a moment. If your Musick be ready, call them in, for Suitors are Impatient, and may be here before their hour. And I think that not only the Fiddles speak better than the Squires, but also that the Heads of the Base-Viols are handsomer than the Faces of those two Lovers: Call them in then, I pray. I'll do you the service. [Art. at the door, bids the Musick come in.

475

480

MR.

ANTHONY

5

6I

Enter Mustek and Dancers. PLOT. PHILAD. ISAB. PLOT.

ISAB. BETTY. PHILAD.

Will you have a merry Song, or a sad one? We'll have the last Song which Mr. Plot made on his own heart. I assure you, Van Dyck never drew more to the Life than Mr. Plot has done in that Piece. 'Tis a new way of Painting, for I drew two Pictures at once. I hope, Madam, hearts that are so like cannot choose but love one another. Hope is free, Mr. Plot. And so should Hearts be, if all were as Wise as mine. Come, come, the Song, the Song.

485

490

495

SONG. I.

Since you will needs my heart possess, 'Tis just to you I first confess The Faults to which 'tis given; It is to change much more inclin'd Than Women, or the Sea or Wind, Or ought that's under Heaven.

500

II.

Nor will I hide from you this Truth: It has been from its very youth A most egregious Ranger; And since from me it often With whom it was both born and bred, 'Twill scarce stay with a Stranger.

fled,

505

III. The black, the fair, the gay, the sad, Which made me often fear 'twas mad, With one kind look could win it; So naturally it loves to range, That it has left success for change, And what's worse, Glories in it.

510 [34]

IV.

Often when I am laid to rest, 'Twould make me act like one possest, For still 'twill keep a pother; And though you only I esteem, Yet it will make me in a Dream Court and Enjoy another.

515

DRAMATIC

WORKS

OF

ROGER

BOYLE

V. And now if you are not afraid, After these truths that I have said, To take this Arrant Rover; Be not displeas'd, if I protest, I think the Heart within your Breast Will prove just such another. I find 'twill be a hard matter to hold such a slippery piece of flesh. PLOT. B u t the greater honour, Madam, is yours that have done it. ART. (to Philad.) M y Heart, Madam, is the very Antipodes to Mr. Plot's·, for I first gave it to you, and 'twould never since so much as pant after another, though you have us'd it most unmercifully. PHILAD. Some Hearts are of the Nature of Spaniels, the more you beat them, the more they'll follow you. ART. B u t then you must show them Game often, else they will go after others that will. BETTY. Dancing is better than talking, at least, as you two do. — The Dance, the Dance! [The Dancers Dance Antick Dances. When that is done, a noise is made within. ART. W h a t noise is that? [He looks within the Scene. Ladies, away! [To the Fiddlers. And you must resign your places to better Company. PLOT. A w a y , a w a y ! [Mustek and Dancers go off instantly. Ladies, since we have made the Play, you will allow us a Room in your Box to see it. [Women step a little back in the Balcony. ART. Silence is consent. [Ex. A r t and Plot, who go up to the Balcony.

520

525

ISAB.

S30

535

540

545

Enter three Men with long Cloaks. ist. M A N . T h e y still follow us. 2d. M A N . Yes, yes, and now 'tis time to let them overtake us. 3d. M A N . 'Tis so, for we are under the Balcony. Enter Trick. TRICK.

Stand, Friends! I charge you in Mr. Cudden's Name to make a halt, and draw up till he comes. [He hollows.

550

Enter Cudden and Anthony. ANT. CUDD.

B u t what if they should not be Fiddlers, and thinking to Hunt a Hare, we should find it a Bear? 'Slight, thou art the Cowardly'st Fellow in Hell! W h a t ! D o you think I do not know a Fiddler from a Hector? I take [35]

MR.

ANTHONY

563

the business on my self, and that's Insurance enough for you, Squire Tony. TRICK. Oh, are you come, Sir? I have kept them at Bay till you came in view, and now my part is done. [Ex. Trick. CUDD. Come, Friends, you must march along with me; we'll pay you for your pains. ANT. Yes, marry, must you; ours is a business of Love, to which all other affairs must strike Sail. ist. MAN. Pray, Gentlemen, what do you take us for? CUDD. Come, leave off your fooling; do not we know what you are? Why, I tell you, you have Fiddlers Faces on your Shoulders, and Violins under your Cloaks. ANT. This is only to heighten the price of your hire; but no catching old Birds with Chaff. 2d. MAN. We are no Fiddlers, I assure you. ANT. Nay, nay, I know you would be call'd Musicians; I commend your Modesties, but I see you have tunable Faces, I read Mi, Fa, Sol, in the very looks of you. CUDD. Come, come, be not asham'd of your Profession; it is an honest and a merry one. 3d. MAN. Are not you merry, Gentlemen, to perswade us to own a Trade we never were bound unto? ANT. Come, I say, lay aside your Grimaces, and your Fiddle-faddles, for on the Reputation of Souldiers, we'll pay you Heliogabiluslike. CUDD. 'Slight, you would be Courted, would you? Come, say you will play, or I'll so Bumfiddle your ribs — ist. MAN. Nay, we'll say any thing rather than be beaten. CUDD. Oh, have we brought you a Note lower? Go, Anthony, and call under the Window. ANT. {under the Balcony.) Mrs. Philadelphia, Mrs. Isabella, here are your Serenaders come with half a File of Crowders. Open your Casements, receive Harmony from us, and give light to us.

555

560

565

570

575

580

585

Philad. and Isab. appear. PHILAD.

ANT.

O, Mr. Anthony \ Long look'd for comes at last; but where are your Musicians and your Dancers? What made you stay so late? Troth, Madam, I gave our Musicianers so much Money to drink your Health that, having thereby elevated their Spirits, they fell out, challeng'd one another, fought on the spot with their Instruments, broke them, and their Heads with them, and had thereby broken my heart by their disappointment, had not my Cousin Cudden and I, by dint of Arms, forc'd these three Gamesters from six Gentlemen, who were glad, at last, to fly away Swearing and ill Edify'd.

590

595

564 ISAB. CUDD. ANT. PHILAD. CUDD. 2d. MAN.

DRAMATIC WORKS OF ROGER

BOYLE

T h o s e do n o t look like Musicians. T h e y are then better t h a n t h e y look. Observe, I p r a y , h a v e t h e y n o t Strike u p Faces? B u t where are the D a n c e r s ? W e t w o are the Dancers. Ladies, w e are no Fiddlers, b u t these Gentlemen, h a v i n g T i p pled a N o t e a b o v e Eia, w o u l d therefore b e a t us into a Confession t h a t w e are. CUDD. N a y then, b y m y life, set m e a D a n c i n g w i t h y o u r Instruments, or I'll set y o u a D a n c i n g w i t h mine. [.Lifting up his Cane. ANT. C o m e , m y Friends! U n c l o a k , Uncloak. 3d. MAN. W e shall c a t c h cold then. ANT. A P o t t l e of M u l l ' d Sack will cure y o u , a n d y o u shall h a v e enough to b u y a Gallon. CUDD. C o m e , I'll take a w a y y o u r I n c h a n t e d G a r m e n t s which m a k e y o u thus resty, for I long to be D a n c i n g . [ C u d d and Ant. fling open the three mens Cloaks, who instantly present their Pistols cock'd at their Breast. ANT. Quarter, Quarter! CUDD. S a v e m y life, a n d do w i t h m e w h a t y o u will. i s t . MAN. T h e only T u n e w e can p l a y is, D e l i v e r y o u r Purse, Sir. ANT. Here, w o r t h y Gentlemen, I a m glad I h a v e it to pleasure y o u with. ISAB. W h a t ' s the m a t t e r , M r . Anthony? ' T i s n o t the fashion to p a y the M u s i c k before t h e y h a v e plaid. ANT. 'Slid, M a d a m , do y o u not see w h a t a T r i c k t h e y h a v e plaid already? Besides, these are Pistoleer-Musicians, a n d will b e paid w h e n ever they ask it. 2d. MAN. {to C u d d . ) Sir, y o u t h a t so long to D a n c e should e m p t y y o u r P o c k e t s first ! O h , it will m a k e y o u trip so lightly. CUDD. Ladies, will y o u not raise the House for our R e s c u e ? 3d. MAN. Stir not, else we'll shoot y o u . PHILAD. A l a s , w e dare not discover the f a v o u r w e did y o u to receive y o u r visits so late. CUDD. A Curse on the f a v o u r — there — [Flings a Purse. M a y it bring y o u to Tyburn. 3d. MAN. C o m e , Gentlemen, w e m u s t then h a v e y o u r V e s t s , T u n i c k s , Sashes, Silk-stockings, a n d Bevers. i s t . MAN. N a y , a n d y o u r Periwiggs too, which are of more w o r t h than y o u r H e a d s : T h e T h a t c h is better than the House it covers. 2d. MAN. Flea, flea, q u i c k l y , for, though y o u r Mistresses think y o u are b u t Geese, y e t we'll show t h e m y o u are Foxes, for w e v a l u e y o u r C a s e s more than y o u r Carkasses. ANT. W o r t h y Musicians of the Fire-Arms, do not expose our N a k e d ness to the Ladies.

600

605

[36] 611

615

620

625

630

635

640

MR.

ANTHONY

565

ist. MAN. YOU are a sweet Lover, that would hide your secrets from your Mistress. ANT. A h ! If it were to her alone, I would discover all; but you have not us'd us so Courteously, I take it, as that I should have the 645 like Inclination to disclose my secrets to you. 2d. MAN (to Cudd.) Sit down, my Eleven-pence-half-penny Squire, that I may strip you for the Jigg you so long to dance. CUDD. Alas! Gentlemen! I am out of my Dancing-humour, nor did 650 I ever yet practice to Dance Naked. 3d. MAN. Wee'l teach you: Y o u took us for Fiddlers, but you shall find we are Dancing-Masters. 2d. MAN. (to Ant.) Come, Esquire of the doleful Face, we must put you into your Calfs-skin-habit; 'tis a pretty and a new dress for an Ante-mask. 655 [Thé three men strip Ant. who often casts up many a sad look to the Balcony, and Cudd. does the like. ANT. Y o u are the first Dancing Masters that ever came to teach their Scholars, and brought Iron Fiddles with them. 3d. MAN. Oh, we are High-way Musicians. ANT. B u t I am for the T o w n Musicians; they are civiller bred, and 660 though they pick our Pockets, yet 'tis in a genteeler way. 3d. MAN. (to Cudd.) N a y , Shirt and all! W h a t you swear to your Mis- [37] tresses will then be believ'd; for Truth is like a Virgin, most moving when Naked. PHILAD. Gentlemen, let us interceed. ANT. Methinks you have been long about it! Had you staid a 665 minute longer, you could have interceeded for nothing but our Hides; all the rest is gone. ISAB. Pray, Gentlemen, for our sakes spare their Shirts 3d. MAN. Well, Ladies, for your sakes we will; allow us to press you to Dance. 670 ANT. In my sight, and I forgive you your having stript me in theirs. ist. MAN. W e cannot come at them, else we would do you that Courtesie — away, a w a y ! [Ex. the three Men. PHILAD. YOU are very kind, Mr. Anthony. ANT. I would you were so too, Mrs. Philadelphia·, I was only A m - 675 bitious to have the same Ante-Taylors put you into my Livery. L o v e is a Race, and since I am stript for it, I would have had you the like, for I hate Advantages. ISAB. B u t who put you on these Robbers for Musicians? ANT. 'Twas Physiognomist Cudden·, he knew them, he said, to be 680 Fiddlers b y their Viol de Gambo Faces, and so confidently inveigled me into the like Error, that I should have taken them for High Priests sooner than High-way Men. Remember too 'twas he undertook to bring the Musick.

566 CUDD. ISAB. ANT.

PHILAD. ANT. CUDD.

ANT. CUDD. ANT.

PHILAD. ISAB.

DRAMATIC WORKS

OF

ROGER

BOYLE

Leave off upbraiding me, or, by this fist, I'll thump you with it. Nay, Mr. Cudden, by my Troth you did embark poor Mr. Anthony in this Intrigue. Law you there, Cuddenl Your own Mistress, being Judge, condemns you: I have often told you, that you had not Guts enough in your brain to make a Fiddle-string, and now Exce signum, you have put us in a very pleasant Figure to Court Ladies in. I dare say never Wooers yet appear'd in such a Garb before their Sweethearts. And all this is the Product of your unfertile Noddle. Nay, I must be thought a Fool for keeping your wise Company. W h y , y o u P u p p y , d i d y o u n o t s a y y o u s a w Mi,

Fa,

Sol,

685

690

695

in

their looks, and that they had Strike up Faces? Confess all this, or I'll Cuff thee. Cuff me! Thou Ignoramus in Folio ! Ignoramus in thy face, and this to boot! [Kicks him. Nay, since we have only our Puris Naturalibus-We&pons to fight with, have at you — Ladies, he promis'd you a Serenade and fail'd, but I promis'd you no Prize, and yet will play one. [They fall a Cuffing. Well fought, Mr. Anthony. Rarely Cuff'd, Mr. Cudden.

700

705

Enter Constable and Watch. CONST.

What noise is that? Knock them down both, 'tis the shortest way to keep the Protectors Peace. [The Watch seize on them. Away with those Quarrelling Drunkards, and put them in the Cage. ANT. B y this light, had we not been parted, I would have beaten better manners into that dull Pericranny of thine. — Kick me before my Mistriss! CUDD. AS soon as I am out of Captivity, I'll kick thee Front, Rear, and Flanks, before all the Mistresses in Europe. CONST. Away, away with them, and put into the Cage those prating Tipplers in Frocks. ANT. {as they haul him out.) Nay, though I be torn in pieces, I will take a civil leave of my Mistress: that will I, though Cudden has not the manners or the courage to do it.

710

715

720

Since for your sake, me in the Cage they fling, Even in that Cage your Praises I will sing. PHILAD. ISAB.

'Twill make a pritty Canary Bird there. Let's away, for now all the Farce is done.

[Ex. Omnes.

725

MR.

567

ANTHONY

A C T V. [SCENE

I. The

SCENE

a Street.]

Enter Anthony, Cudden, Plot and Art; the two first buttoning their Vests. CUDD. ANT.

PLOT.

ART.

CUDD. ANT.

PLOT. CUDD. ANT.

CUDD.

ART. CUDD.

ANT.

You see, for your sakes we have shook hands. What damnable Hypocrites and Cheats your Birds in Cages are, for they keep a leaping and singing as if they were ravish'd for joy at their condition, when, for my part, by the experiment I have lately had of a Cage, I think it one of the Melancholy'st Habitations I know, but Hell. — But how did you recover our spoils from those Dragoons which Plunder'd us of them? We heard by chance, in an Ale-house, as we were passing by, three men talking of Mr. Cudden, and Mr. Anthony, and how handsomly they had robb'd and stripp'd them, which made us break into the low room, where they were drinking their own Healths at your Costs, and seizing on their Pistols, crying out "Thieves, Thieves," they fled. But left behind their Booty, which, as we were carrying home to you, we found you in the Cage, and so releas'd and cloath'd you. 'Twas kindly and luckily done. Well, if ever I press men with long Cloaks for Fiddlers, till I see they have no Pistols under them, may they fire them all at this Heir-apparent Head of mine. But how were the Ladies entertain'd? Better than we, I am sure on't. Nay, better than they have deserv'd, for they had no more fellow-feeling of our Misfortunes than the Watch had, till your half piece mollify'd those Bears with two feet. Well, I'll leave you, since for my part I am ready to freeze, and must thaw my Heart with some Spanish Juice. Tom, wilt go with me to the Mermaid? Can you doubt that I, who forsook you not in the Cage, will leave you going to the Tavern? Tony\ Be sure my Uncle and his Family know nothing of this Intrigue. I am Gagg'd, I warrant you. [Ex. Cudd. and Art.

5

10

15

20

25

30

Enter Betty and Nan. BETTY.

Mr. Anthony, we have all this morning been seeking you and 35 Mr. Cudden·, there is such a Vacarme in your Fathers House, [jp] that the noise of a N a v y Royal, tho in a Hurricane, and

568

NAN.

ANT.

NAN.

ANT.

BETTY.

ANT.

NAN. PLOT. BETTY. PLOT. NAN. ANT.

BETTY. ANT.

BETTY.

D R A M A T I C WORKS

OF

ROGER

BOYLE

on a Lee-shore, is still Musick to it, for Sir Timothy and my Aunt have heard all your Pranks. Which has so exasperated your Father and my Lady, that you are forbidden the House, and a Lawyer and Scrivener are sent for, Post haste, to draw up a new Settlement, to Disinherit you, and to Intail his Estate on Mr. Nicholas, your younger Brother. Well-a-day, and Woe is me! A pox on Love. Dear Mrs. Betty, advise and pitty a poor and miserable Disinherited Heir and Lover. Nay, the Judgment of 3000/. which Sir Timothy had on his Nephew Cuddens Estate, he has now Sworn, and, kneeling, taken the Oath, that he will never release, but extend it forthwith. Hang Cttddenl 'Twas he drew me into this Periclitamine I am now ingulf'd into; he must forsooth be a Physiognomist, with a curse to him, and I must be such a Nicodemus as to rely on his Skill, when the Puppy has no more knowledge in him than there is in a Roasted Apple. I am, you say, prescrib'd and banish'd, and must live at Rovers; nor have a penny in my Pocket to buy a Tavern Cordial with. Mr. Anthony, I have always been your Friend, and therefore lament your condition ; take this Purse for your present supply. [She gives him a Purse. This kindness, pritty Mrs. Betty, from one of your Sex, I protest, does half reconcile me to all of it; for, till now, I never got any thing from a Female but a Clap. Mr. Plot, will you help me to seek out Mr. Cuddeni He needs intelligence and Relief too. Will not it be scandalous to leave your Sister alone with Mr. Anthony? NO, I warrant you, the hours of affliction drive out loose thoughts. Then, Mrs. Nan, I am ready to wait on you. And I'll follow you at your own pace. [Exeunt Nan and Plot. But, Mrs. Betty, have you so mean a belief of me, as to think 'tis in the power of all the unlucky Stars of Heaven to cast me down so low that, being alone with you, would not elevate me; I tell you, 'tis an irreparable affront done to the mettle of my Constitution. Nay then, by this light, Mr. Anthony, I'll leave you. [Offers to go B y those two pritty lights that twinckle in the Sphere of your Skull, but you shall not; you will not make me think you a Fool. Why a fool, pray?

40

45

50

55

60

65

70

75

80

MR.

ANT.

BETTY. ANT.

BETTY. ANT.

BETTY.

ANT. BETTY.

ANT. BETTY. ANT.

BETTY.

ANT. BETTY. ANT.

ANTHONY

569

Lord! What a ridiculous question you ask! For did ever a handsom Gentlewoman give a distress'd Squire her Purse but as an earnest that she would give him a better? You know well enough what I mean, a — 85 Since you make such false Inferences, pray give me back my Purse. What, part with my Earnest-money! Sure you jest. — B u t , Mrs. Betty, to shew you how much your kindness operates on me, I will make you my Confident, and both beg and resolve to 90 rely on your advice in a most Important Affair. You know I made Election of Mrs. Philadelphia, and Ctidden of Mrs. Isabella, and as the Devil would have it, I am told Mrs. Isabel is in Love with me, and Mrs. Philadelphia with Cudden. Oh, if this be it, your Intelligencers are Mr. Plot and Mr. Art. 95 YOU say right, for they told us of it as we were returning from the damn'd Adventure of the Cage, and I am sure neither [40] of them wou'd Trepan us. But the truth is, Nan and I trepann'd them; for when we saw them come softly behind us to listen to our discourse, and, as 100 they thought, undiscover'd, we talk'd on purpose that stuff, as some Revenge for their impertinent Curiosity, knowing their great concerns for you. Why then 'tis not true? No, I assure you; but since you make me the great depository 105 of your Secrets, I will protest to you Philadelphia and Isabella are so far from being in Love with either of you, that they do nothing but Laugh at you both: Nay, worse a thousand times; 'tis they which set all the Traps for you both last Night, as I heard them confess this Morning. no Is this possible? 'Tis more, tis certain; so that if you have any mettle, show it by your resentment of these affronts. Have I then run through so many Herculean labours to be thus Colted? Well, I see I have brought my Hoggs to a fair 115 market. Let me alone and I'le order the business so that if you two will hide your selves an hour hence, behind the Arbour in the Garden, you both shall hear them two not only confess the fact but glory in it. 120 If this be so, take my heart for your reward. Your Heart! why, you have already given it to Mrs. Philadelphia ! Pish ! I did but only hold forth my Heart to her : But I will give it you without a power of Revocation; in a word, you shall 125 have the very in tail of my Love: Will that satisfie you?

570

BETTY. ANT. BETTY.

ANT. BETTY. ANT. BETTY. ANT. BETTY. ANT. BETTY.

ANT.

DRAMATIC

WORKS

OF

ROGER

BOYLE

But will not you prove inconstant? For methought you were at high, pass, and repass, three times with it last Night. I was then a Juggling, I tell you, and so play'd at Hocus Pocus, and the Babylonian Tooth; but now I am serious. Why then, I will undertake also to make your peace with your Father, and to make him settle 500/. a year on you for a present Maintenance. If you do, I'll swear you Conjure! But how! How! M y Pretty white Witch? But you must be secret. AS secret as I would keep my Mistresses last favour. Know then, your Father is in Love with me. With you ! A y , with me! — And who do you think is his Agent? Even Reverend Mr. Pedagog. Pedagog? That Debauch'd Pupil of mine. I'll whip him with his own Ferula for it; yet he had still a Pimping Physiognomy. I am this morning to give him my last answer, and he shall have it to some purpose; leave this affair to my management, for your advantage. And so farewel; remember an hour hence. I warrant you. [Exit Betty. Well, these Women are ticklish things. How shall I be sure that she, who plays so many tricks to Marry me, will not play me as many tricks after I am Marry'd to her?

130

135

140

145

150

Enter Cudden. CUDD. ANT.

CUDD.

ANT.

CUDD.

Tony, have you heard of Sir Timothy's Indignation, and who those were that wheedled us last Night into all our Miseries? Yes, yes, I have heard, and am now more troubled to find [41] out a soucing revenge than at the wrong I have suffer'd. — In the first place, I forswear by Bell, Book, and Candle- 155 light, never to Couple with Philadelphia. And I must tell thee that Mrs. Nan, who by the way has filch'd from me my heart, by my own consent, has promis'd me too, to bring me to the Hiding-place near the Arbour, where I shall be a Two-Ear-Witness of Mrs. Isabels Confession, which 160 as soon as I have heard, I will take the like Oath as thou hast done; with this Vinegar and Gall addition, that I will less cheerfully Consummate Matrimony with Mrs. Isabella than with a Milch-Cow. But are not we bound in honour, when we hear them abuse us 165 to our faces (though they cannot see us), to make a Sally out of our Ambuscado, and by way of affront and eternal farewel, make an Hebrew Leg to them? What a Devil is an Hebrew-Leg? I believe thou hadst a Jew to thy Dancing-Master. 170

MR.

ANT.

CUDD. ANT.

CUDD. ANT.

CUDD. ANT.

CUDD.

ANTHONY

57I

B y the Mass, and he might be one, for he confess'd to me that he suffer'd a Female Circumcision at Paris: But an HebrewCongee is when one Marches boldly up to a Woman, and instead of Saluting her, you fetch a pirowet on your left Toe, and bow your Breech to her, and duck your Head from her Thus, which signifies: Adieu for ever with a Pox to you. 'Tis a brave Revenge; but I would do something. 'Slid, then let's make them the Rabinical-Congee; for after that there can be no accommodation. 'Tis a kind of passing over Rubicon, and cuts off all Treatise of Concord. Prethee, dear Anthony, instruct me in this hard Word Congee, for the worst affronts to them are the best for us. Why, thus then: When you have turn'd your back-side to her, you open your Thighs wide, and then clapping your Head between them (an Emblem that the World is turn'd Topsyturvy with you towards her), you say in a hoarse Tone "farei l l " instead of "farewel." Excellent! For who can be such a Hen-hearted Hypocrite, as to say farewel to one who he detests and would have fare ill? Right and Plain-dealing is a Jewel fit for a forsaken Mistresses Ear; besides, your Head being in that Position, it seems as if you spoke through your Breech, which is one of the unsavourest ways of uttering ones self to ones Mistress, that can be fancy'd by the Wit or Malice of a Willow-Lover. And therefore the fitter usage for such Whirligiggs. Come, let's about it, for the hour is at hand, and I more long to act these Revenges, than ever I did to be Mrs. Isabels Bed-fellow, though without the help of a Parson. [Exeunt. [SCENE II.

175

180

185

190

195

A Chamber in Sir Timothy's House.]

Enter Sir Timothy and Pedagog. SIR TIM. PED. SIR TIM.

PED. SIR TIM. PED.

Well, Mr. Pedagog, shall I, or shall I not? Has my burning sighs dissolv'd the Ice in Mrs. Betty's Bosom? 200 Consider, Sir, what 'tis for one of your years and relation to be in Love ! Pray, Sir, yet listen to my Reasons. Reasons to a Lover! Y o u may as well hope to alter a Highway-man by pleading Magna Charta, when he demands your Purse. 205 YOU are fix'd then? Fix'd as Fate. W h y then, Sir, since I cannot alter you, I must tell you I [42] have more than endeavour'd to serve you, for I have three times assaulted Mrs. Betty in your behalf; at the first overture 210 of the business, as the fashion is, she bless'd her self, shriek'd and fled, and gave me a Volly of Injuries at parting.

572.

SIR TIM. PED.

SIR TIM.

PED. SIR TIM.

DRAMATIC WORKS

OF ROGER

BOYLE

Has she then Antipathies for me? In a Word, for I know your Worship stands on Thorns, you are immediately to make over that Judgment Irrevocably to Mrs. Betty, who is this Afternoon, at six a Clock, to counterfeit her self sick, and so to retire to her Chamber, ten Minutes before Jenny is to let you in; and as soon as her Lady has flung her self upon the Bed, she will go out, pretending to fetch something for her, and then — No more, my Ped·, thou hast oblig'd me for ever. As an Evidence whereof, here is thy Bond Sign'd and Seal'd. Farewel, excuse a Lovers Impatience. But, Sir, if my Lady know any thing of this? Hang her, Mouldy Bisket. [Ex. several ways. [SCENE III.]

215

220

225

The SCENE, a Garden with an Arbour.

Enter Anthony and Cudden hastily. ANT. CUDD. ANT.

'Slid, they are on our backs already, we must Tappis instantly, or they'll have a view of us. Let's leap into our Forms; but little do they think how this Ambush will break out upon them. Hush! They are come.

230

Enter Isab., Philad., Betty and Nan. BETTY.

Nay, 'twas too unmercifully done. W h y , you could not have us'd them worse, had they been your Haters, when, alas, the poor Squires were your passionate Lovers. PHILAD. The truth is, how could men with those Miens expect to be civiller handled? ISAB. They to set up for Heiresses of a 1000/. a year a piece, with those Coddled Faces. CUDD. (whispers to Ant.) {Tony, that's you she meant. ANT. Nay, she abus'd us in Couples, for she said Faces; take your share of the Parboyl'd Visages, I'll rob you of nothing. ) BETTY. Troth! methinks Mr. Antony has a pretty fresh Complexion of his own ! PHILAD. Yes, as fresh as Roses after they are still'd. ISAB. And for Squire Cudden he has such a Brown-bread look, 'twere enough to make a Plough-man hungry to see him. ANT. {to Cudd.) (Pray, Cudden, let me have a Slice of your Face to stay my Stomach. CUDD. Hold, hold, Tony, she'll give you with her Tongue your Bellyfull presently. ) NAN. Come, come, there must be something more than this in the

235

240

245

250

MR.

ANTHONY

573

matter; the Men have good Husband-faces, for men are not Marry'd for their Beauties. PHILAD. For my part I would not have so much certainty of being nought, as to Marry such a Cuckold-look as Squire Tonys. CUDD. (to Ant.) (Mark that, Tony I 255 ANT. And mark my Prophesie; if she does not give, who e'er she Marrys, a pair of Horns as big as the Stags of Amboise, may Actaeons Fate be mine.) ISAB. You saw we took them for Wild Beasts, and so had them [43] Cag'd; and for Squire Cudden, methinks I see an Olio Podrido 260 in his looks; a mixture of Fool, Cuckold, and Surly, three pretty Ingredients to compose the Complexion of a Coventry Lion. ANT. (Be — — Ah, Squire Cudden. CUDD. 'Slight, I can hold no longer, I must Sally; Second me bravely, 265 Tony, and we'll toss them worse than in Blankets. ANT. If I do not stick to thee in all thou dost attempt, may Philadelphia be my Wife; which is the greatest imprecation my Chaf'd-brain can invent. ) [They both discover themselves, and come upon the Stage. CUDD. Here, Mrs. Cow, behold your Calf! 270 ANT. And you, Mrs. Phyly, that fear being a Gamester, should you Wed me, know I am come to bid Defiance to thee to thy face, which is so Warp'd, that 10001, a year cannot make it right in my Eyes. CUDD. And for you, Mrs. Olio Podrido, whenever you have me for 275 your Gallant again, may the Cage you cast me into for one Night, be my Bed-Chamber for ever. ISAB. You were such hot Lovers, we had no other Invention to cool you. PHILAD. Fruition it self is not a more Compendious way to quench your 280 flames, than that which our Charity found for you. ANT. Is it so, Mrs. Maukin, with your Antimonial Face? A Face, which now I look on without a Lovers Spectacles, is ready to operate both ways on me: 'Tis a composure of Jalop and Crocus Metallorum-Ana, so that I protest I can hold out no 285 longer; and therefore stand fair, that I may make an HebrewLeg. PHILAD.

Do, Mr.

CUDD.

An Hebrew-Leg for you too, Mrs. Isabel, with a Rabinical Conge in the Close. I see they have been better taught, since they were in the Cage, than ever they were by their Dancing-Master: Affliction is an Excellent School. Come on, Practitioners, we'll stand for you. That's more than we'll do for you.

ISAB.

ANT.

Jew.

290

295

574

CUDD. ANT. ISAB.

PHILAD. CUDD.

ANT.

ISAB. PHILAD.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Then thus I advance. [Making the first Leg agreed upon. The like Civility I pay you, Mrs. Phily, and wish it were worse for your own soure sake. I protest you never laid out ten Shillings better than on the Constable and his Watch, to teach you these A-la-mode 300 Conges. Pray, Squires, give us another Serenade, and let these Legs be made us when you begin the Ball. Nay, nay, do not commend us till our Ante-mask is done; this is but the first Entry of it. Now for Rabinicus, and let's make 305 them both together. Content! We will use them Souldier-like, and give them a Volly at parting. [They make their Rabinical Conges at once, and both cry, in a hoarse voice, " Fare-ill for ever, with a Pox to you both." Bless me! Let's run, they'll fling their Logger-Heads at us else. 310 Fly, fly, they are Conjuring. [Ex. Isab. and Philad. shrieking.

CUDD.

Are they gone?

NAN. ANT.

Yes, yes, with Fleas in their Ears. A Green-sickness go with them; and may they neither have Chalk nor Lime to feed on. 315 YOU have acted the Revenge like men of Italy. Think to gilt us unpunish'd; but you, Mrs. Nan, have ty'd [44] me for ever to you. I am under the same Foot-locks to pretty Mrs. Betty.

BETTY. CUDD. ANT.

Enter Trick with two Letters. TRICK.

ANT. BETTY. ANT.

Sir Timothy commanded me, on the peril of my Ears, to deliver this Letter into your own hand, and this into yours, Mr. Anthony. [Gives the two Letters. I tremble to open it, for I know the damn'd Contents of it. Read it boldly, Mr. Anthony. AS boldly as I would fight for my Mistress. [Reads. Hum, hum, Debauch'd like a Ruffian — Fight in the Streets in your Shirts — Caged — Disinherited — Your younger Brother all my Estate — And banish you my House for ever. — O! dismal Tidings!

320

325

Enter Plot and Art. ART.

PLOT. CUDD.

What in the name of Wonder, have you done to Mrs. Isabel, and Mrs. Philadelphia? We met them running and half frighted out of their Wits. Vowing, with lifted up hands, they will rather marry an Hospital beggar, than either of you. And we, two Tinkers Trulls rather than either of them.

330

335

MR. ART.

ANT. CUDD. ART. PLOT. CUDD. ART.

CUDD.

ART.

ANT. CUDD. PLOT.

ANTHONY

575

Your severe Usage has made them so kind to us, as to offer us themselves for our Wives, if we would Bastinado you, Crop your Ears, and slit your Noses, — for nothing less will pacify them. If I were sure you would be Spirit of Urine-Husbands to them, 340 by this light, you should therefore have my consent. Or were I sure you would give them incurable Monsieurs the very first night. 'Tis ten to one we shall. W h y ! 'Tis the Mode now. Have you not stinging Letters from Sr. Timothy? 345 Mine was writ with the Juice of Nettles. And mine, with Aqua Infernalis, so that, Mr. Plot and Mr. Art, I'm a lost man; my father will disinherit me for my last nights Gambol, and would disinherit me again, if he could, for Marrying Mrs. Betty, to whom I have dedicated the Triangle 350 of my Breast. The Old Usurer has sent to lay on his 30001. Judgment on my Estate, with Interest upon Interest, and Cost upon Cost, and Damage upon Damage, so that I doubt the Daughter, the first hour she's born, will be bigger than the Mother; however, 355 I will have Mrs. Nan, blow high, blow low. Come, cheer up; for what say you, if Mr. Plot and I get you his consent to Marry your two Mistresses, and give you 30001. a piece with them, and 5001, a year instantly for Mr. Anthony? Hey, Boys! This sounds lof tiler than the Tutonick. 360 If thou dost, take our two late Mistresses. If we do not, hang us; but then you must do all we command you, and not lose one moment. Follow us, and depend on it; all shall be done. — Away, away. [Exeunt. [SCENE I V . ]

T h e SCENE a C h a m b e r [in Sir Timothys,

[45]

House] ; a Bed and Curtains set out within the Scene. Enter Jenny. JENNY.

SIR TIM. JENNY.

I doubt he repents, and will not come; yet sure he cannot be such a Rampant Weather, as to give 3000/. to do nothing. Oh, here he is! Enter Sir Timothy. I see, Sir, Old men are not so punctual at their Amorous Assignments as the Young; 'tis e'en on the stroke of six. I tell thee, Jenny, 'tis but a little past Five by my Watch. A Lovers Watch, especially on such an occasion, should go an hour faster than the Sun. 'Slid, my Lady's at hand; I see her — hide your self behind the Bed. [SÎV Tim. hides himself behind the Bed.

365

370

576

SIR TIM. JENNY.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Had she not come so soon, I would have trifled a little with thee. You should not, for I hate Trifling.

375

Enter Betty, who casts her self on the Bed. BETTY. JENNY.

I am very sick, Jenny, pray, draw the Curtains, then run and fetch me a Cordial. I will, Madam. [Ex. Jenny.

Sir Tim. comes from behind the Bed. SIR TIM.

(She is forward; I might have sav'd 1500Í. of my 3000/.) 380 [Opening the Curtains. Niece, I know you are a fair Merchant; I have paid you my money, and now I come for my Commodity. BETTY. (startling up.) Bless me, Unkle! What do you mean? SIR TIM. What, have you forgot the bargain? I come to be your Bed- 385 fellow; that was our agreement. BETTY. But then, I meant you were to be my Bed-fellow as my Sister Nan is. SIR TIM. But I meant to be your Bedfellow, as a man of Mettle ought to be with a Maid, to whom he has paid 30001, for a Nights Lodg- 390 ing. — 'Slid, do you think to Wheedle me? Then 'tis time to Storm you. BETTY. Then 'tis time to cry for Rescue. — Help, help! [Betty tears off Sir Timothy's Ruff, and with a kick, flings him down. Betty shrieks, cries for help. LADY, {within.) I come, I come, my Child. SIR TIM. (Death, that's my Hagg of a Wifes Voice: I am a lost man, 395 ruin'd for ever, I must hide my self. ) [Runs behind the Bed. Enter hastily Lady, Philad., Isab., Nan and Winifred. LADY. BETTY. LADY. BETTY. LADY.

NAN. BETTY. LADY. BETTY.

LADY.

What shrieks were those, my dear Niece? Ah! Madam! They were mine. A t what, my Child? Alas, I saw a Ghost open my Curtains, and it would have 400 Ravish'd me. A Ghost, and would have Ravish'd thee? Thou Dreamst, thou Dreamst. Pray, in what Shape did it appear? I am loath to tell. 405 Tell it, I say. It was so like Timothy, I durst have sworn it had been he, [46] had not the Lascivious Violence it offer'd me made me conclude it was the Devil in his Reverend Worships Shape. Fy, fy, Betty, he, Good Man, a Ravisher? I know him too 410 well to suspect him for that.

MR.

BETTY.

ANTHONY

577

Nay, Madam, 'twas either he, or Belzebub in his likeness; I'll h o l d y o u 30001, o n ' t .

SIR TIM. BETTY.

(Oh, the Jade! Betray and jeer me too!) Pray, judge whose Ruff this is, that I pluck'd off the Furies Neck, in my own defence. [Plucking it out of the Bed. LADY. Winifredl Is not this thy Masters Mark? G. WIN. B y my Maiden-head, Madam, 'tis; oh, the Old Letcher! LADY. Where has he hid himself? BETTY. I think behind the Bed, for thither he scuttled when my shrieks call'd in the Company. LADY. Villain, Goat, Cock-Sparrow; come out with a Vengeance. [They all go behind the Bed and pluck out Sir Timothy. G. WIN. Lord! How like a Tarquín he looks. NAN. Bless me! What an old Ravisher is this? SIR TIM. Forgive me, my dear Wife, it is my first fault of this kind; and, by the Love I bear thee, shall be the last. LADY. Forgive thee, thou Town-Bull? No, if the Law can hang thee, swing thou shalt in the Air. Run, Winifred, and call three Chastizers of the Parish, and let them Worry him. G. WIN. I'll fetch those Teasers for him shall cool his Courage. So Rampant at Sixty! Nay then, 'tis time to Eunuch him. [Ex. Win. BETTY. Alas, Madam, to show how hot he was, he made me over Mr. Cudden's Judgment of 3000/. as an offer to corrupt me; here's the very Deed. [Gives her a Parchment. LADY. B y this light an 'tis. Ah, thou old Tray tor, give 30001, to Cuckold me, and Debauch my Niece. B y the Injur'd Spirits of thy offended Wife, I'll Mouse thee for it. SIR TIM. I acknowledge my Crime, and submit, dear Wife of my Bosom: Therefore send not for the Chastizers of the Parish; they'll blaze my dishonour, and so squeeze my Purse that I shall dye blushing and a Beggar. NAN. Pray, Madam, let me interceed for my Unkle. PHILAD. & ISAB. We join our Prayers with hers. LADY. Hang him, Ram! — Nay, since he will be for Feritting in others Burrows, e'en let the Warrener Uncase him, and hang up his Skin, to frighten away all such Vermin.

415

420

425

430

435

440

445

Enter Winifred running. G. WIN.

Oh, Madam, by the happiest chance in the World, I met in the Street, just at the door, the three Chastizers of the Parish, newly risen from sitting in Judgmént on a young Fornicator, who they had handled without Mittings, and therefore will feague an old Adulterer; I have told them all. They are without at the Door, and if you please, I'll bring them in.

450

578

SIR TIM. LADY.

G. WIN.

DRAMATIC

WORKS

OF

ROGER

BOYLE

O, deliver me not over to these three Tormentors, but Execute me with your own hands rather. Peace, thou old Sinner, my Ears are barr'd to Mercy; call them 455 in, Winifred. Nan, draw three Chairs, that they may sit [47] in Judgment on this Gray-hair'd Ruffian. Come in, Reverend Sirs. [Win. goes to the door. Enter Pedagog, Anthony, and Cudden: the first with a great black beard, the others in black like two Elders; all three humming.

PED. LADY.

ANT. CUDD. SIR TIM. ANT. PED. CUDD. SIR TIM. ANT.

CUDD.

PED.

ANT.

Sister, What voice of Justice calleth us hither? Welcome, Sirs — take your Seats; here's the Delinquent; 460 there's the injur'd Innocence; and here's the Witnesses; but the latter we need not, for he confesses the foul fact. If he confesses, let him be hanged. The proverb has condemned him. Brother! we must proceed Juridically; set the Delinquent 465 forth! What Crime art thou accused of, old Man? Wenching, and please your worships. Out upon him, Spawn of the old Serpent, as if wenching pleased us. Brethren! he's full fraught with Iniquity; his answer is a New 470 guilt. A t whom was thy Uncleaness levell'd, old Sinner? Even at that Gypsy, who has pick'd my pocket of 3000 I. Mark that, Brethren: 30001, for wenching; he may well pay double as much for pious uses; he's a full spung, Brethren. We 475 must and squeeze him well. I am somewhat Tender, Beloved, in erecting Churches out of fornication; the Foundation is bad; but for squeezing him I concur. Brother, your scruple is not groundless; but since bad manners 480 beget good Laws, 'tis as reasonable that Fornication should build Parochials. M y Hesitations are vanished. Enter Art and Plot.

PLOT.

Sir Timothy, alas! What's the matter? The crowd of people at your door has brought us in. ART. And to offer you both our services, if you have need. SIR TIM. (whispers to them.) (Alas, Gentlemen, you find me in Hucsters Clutches. PLOT.

For what?

SIR TIM. ART. SIR TIM. PED.

Ah, for the frailty of my Old Age. Frailty, in what? An Amorous Itch, or so.) Who are those that interrupt our Sessions?

485

490

MR. CUDD. ANT.

G.

WIN.

PED. LADY. ANT. CUDD. PED.

CUDD.

SIR T I M . ANT. CUDD. PED.

CUDD.

ANT. PHILAD ISAB. ANT.

PHILAD. PED. BETTY.

NAN. PED.

ANTHONY

579

And that dare appear before this Court in Roystring Periwiggs, whose Locks are like the Whore of Babylons. 495 Sister Winifred, make these Emblems of Vice withdraw, or at least keep silence. [Hems twice. Brethren, proceed, let not the Garb of Wickedness put Justice out of its sober pace. Mr. Plot, and Mr. Art, silence, and hear the Court. 500 Who is that Female, whom thou, with thy defil'd mouth, didst call Gypsy? Reverend Sir, 'tis my Niece, Mrs. Betty. Mark that, Brethren! his Niece! 30001, to commit Incest! His Niece! O thou obdurate Old Wretch! 505 M y Brothers, here's a C o v y of Vices complicated; Fornication, as she is a single Woman; Adultery, as he is a Marry'd Man; and Incest as he is an Unkle. Mr. Thump has Orthodoxly unravell'd and dissected Gradatim the several Fibers, which grow from this one Wicked Root, 510 viz. Uncleanness. But nothing of all this was acted; mark that, Reverend Sirs. [48] But 'twas none of your fault 'twas not acted! mark that, Irreverend Sir! The Fault is foul and clear; therefore let us proceed to Judg- 515 ment. M y decree is that, since he is so hot, he shall stand publickly in a White-Sheet by way of Pennance Seven days in Sequence, to Mortify the flames of Lust in the Spectators. M y Sentence is that, since he could give 30001, to one Neece to 520 Corrupt her Chastity, he shall give 3000/. to the t'other to get her a good Husband; for an old man should bestow at least as much upon Charity as he does upon his Concupiscence. Ere I proceed, I desire to be informed if any young Women are committed to his ordering. 525

O Yes, my Sister and I are. T o our griefs be it spoken. Then my first Sentence is (for I mean to have more than one) that from henceforth you shall be wholly at your own disposal, for he that cannot rule himself, is unfit to guide others. and ISAB. I humbly thank you, Sir. Has he any Children or Relations committed to his charge? Yes, Sir, he has a very hopeful young stripling to his Son, call'd Squire Antony, on whom he will scarce bestow 3 pound: when to quench his Libidiny, he can part with 3000. He has also a very promising plant to his Nephew, call'd Squire Cudden, on whose Estate he has a judgment of 3000 M y Brother has minded me of the decorum of Justice; there-

530

535

58ο

DRAMATIC WORKS

OF ROGER

BOYLE

fore my second doom is, that he settle forthwith 500I. a year on Squire Antony, that toward sappling. 540 ANT. And my second decree is, that the said Squire, if he likes the injur'd damsel, shall for his fathers transgression take her for his loving spouce. CUDD. {hems.) — And my second decree is, that the Nephew, if he likes the other Sister, shall copulate with her, as lawful Man and 545 Wife — (Hems lustily.) and that the good Lady, who the old stallion has so offended, shall henceforth rule the Family; for he has forfeited the Breeches by being so Rampant after the Petticoats. PED. Having thus with sober steps, and well weighed Justice, mov'd 550 through the Criminal part of the Charge, now let us proceed to the Capital. — Adultery, by our Law, requires the Gibbet; Incest, by our Law, the Faggot : So that, believe me, Brethren, I doubt we can do no less than Condemn him to be Hanged and Burned. 555 CUDD. For since he fell from Adultery into Incest, it is fit also that he should fall out of the Frying-Pan into the Fire. ANT. All this must be certify'd to the Governour of the Precinct, to whose Dead-doing Hand we must leave the Transgressor. LADY. Nay then, Pious Sirs, I must interceed; I cannot forget he is 560 my Husband, though he forget both himself, and that I was his Wife. SIR TIM. Take pity on me, I beseech you — and to show you I need no severer Judge on my self, than I will be to my self, I freely consent that my Niece Betty keep the 30001. Judgment I gave 565 her; and I will give my Niece Nan the like summ for her Por- [49] tion. I will also do my utmost endeavour to engage my Son Anthony, and Nephew Cuiden, to Marry them. I will settle on the former 5001, a year, present maintenance, and the rest after my Death; which, alas, I find these abominable Miseries will 570 hasten. My two Charges, Isabella and Philadelphia, I leave freely to their own dispose. And lastly, I will for ever resign up the Soveraignty of the House to my offended Lady, who, I acknowledge, deserves as much to Rule it, as I have made my self hereby unworthy of it. All this I voluntarily do. 575 LADY. Let this, I beseech you on my Knees, satisfy your offended Justice. PLOT. I unite in their Requests. ART. I join in it most heartily. NAN, BETTY, ISAB., PHIL.

G. WIN. PED. ANT.

A n d I.

And I forsooth. Brethren, what say ye? I begin to thaw.

580

MR.

ANTHONY

58I

CUDD.

Whipping himself three lashes is more than if a Beadle Whipp'd him nine. S»S ANT. But now I think on't, Brethren, our Office is to punish, not to pardon. SIR. TIM. (whispering.) (That's a severe Assistant, Mr. Plot. ) PLOT. Reverend Sir, consider the greatest part of your Sentence the Delinquent submits to impose upon himself. 590 LADY. Can you be so cruel to deny us all at once? How are we sure he will perform, unless our Decrees are first PED. return'd unto, and then ratify'd by the fore-mention'd Governour of the Precinct? SIR TIM. If that be all, give me a blank sheet of Parchment; I'll Sign and 595 Seal it. Then you your selves fit it up according to the Tenour which I have Sworn; which may I perish if I make not good. Brethren, let us consider. PED. [They seem to consult together, and hem often. PLOT, {to Isab.) Now, Madam, you're at your own dispose, a happiness which, when you had attain'd, you promis'd you would perfect 600 mine. ISAB. I do remember my Engagement, and here's my hand, I'll keep it. [Plot kneels and kisses her hand. ART. {to Philad.) Now you are free, Madam, remember your poor Captive; I do not beg you to break those Chains your Beauties 605 have confin'd me in, but to reward the Joy with which I bore them. PHILAD. Y o u have been so respectful and so constant, that I should be more unjust to my self than you, did I not grant your Suit — Yes, I am yours. 610 ART. The whole Actions of my life shall be to pay my Gratitude. Call for a Skin of Parchment, ho! [Win. runs out. PED. SIR TIM. That voice has comfort in't: Ah, my dear Lady, canst thou forgive thy Timi LADY. Heavens forgive you, I do. 615 SIR TIM. What a Barbarian was I to offend such Innocence; but if my Vertue does not henceforth Geld me, thy Twises shall do that Justice. CUDD. But what if there should be no Parchment ready? 'Twas ill forgotten. 620 PED. B y the Mass, all then will be Defeated. No, no, I have a help at Maw. ANT. Enter Winifred. G. WIN.

I have search'd over all the House, and cannot find one Skin of Parchment. Is it your pleasure I send to the next Scriveners for one?

625

58α PED.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Brother, draw forth your help at Maw; there's need on't now, you see. ANT. (pulling out the Triple Indenture.) Then thus, Brother Thump, I bring it forth. PED. {to Ant.) ('Slid, that's the Triple Indenture. ANT. The very same, I profess, and he shall sign the outside of it; for now, as I take it, the Triumvirate is Null'd, and we'll, at leisure, wash out the inside with Aqua Fortis. Be sure you hold it cleverly then, else all the Fat may be in the PED. Fire. ANT. I warrant thee!) — Come, thou Old Miscreant-Penitent, sign your Voluntary-Doom. — Brother, yea ! Produce your Penner. Here, take it, Old Transgressor. — (Lord! How his Hand CUDD. shakes. ) — Were it to sign 30001, for an Incest, he would do it most steadily, I warrant you. SIR TIM. This is my Hand, and this is my Seal, and all that shall be Written above it, according to the Sentence, and my most humble Acquiescence in it, I here, by a fresh Vow, Confirm and Ratify. OMNES. We all are Witnesses to it. SIR TIM. Now, most Reverend Judges, be not displeas'd if I make one poor and earnest Suit to you. What is't, Peccator? ANT. SIR TIM. 'Tis that my Son Anthony, and my Nephew Cudden, may never know of my Transgression, or of the Commutation I make for it, for if they should, their Tyranny would be Intollerable. ANT. Know then, to Console thee — none shall ever be told it, but we that are present; does that satisfie thee? SIR TIM. Most abundantly; and here again then I renew the Oath of my performance. ANT. (discovering himself.) And thus, with your Blessing, I make bold to possess my self of my part of your Vow! Mrs. Betty, I am yours for ever. SIR TIM. How! M y Son Anthony ! The very same, as I am an Assistant; and have you not a kind ANT. Son of me? Who, though you banish'd me your House for showing my Valour in the Streets, does yet, to expiate your fault, cheerfully undergo what you your own self thought (5001, a year, and 30001, in Money) was little enough to buy me to. CUDD. (discovering himself.) And have you not as kind a Nephew of me? Who, tho I was as Tyrannically us'd by you, yet being one of your Judges, condemn'd you to no more than you Sentenc'd your self unto. — Nay, to attone the wrong you did to one Sister, consent to Marry the other with the pittiful Portion of

[50]

630

635

640

645

650

655

660

665

670

MR.

ANTHONY

583

3000/., but she is worth a Million. M y dear Nan, here take thy own Cudden for ever. PED. (discovering himself.) And have you not a tender Ghostly Father of me, that since I could not reclaim your Worship from Lust as 675 your Schoolmaster, have done it as your Judge? SIR TIM. Ha! Bless me! I have also made bold to use the Liberty your Repentance ISAB. gave me, and have bestow'd my self on Mr. Plot. And I on Mr. Art. 680 PHILAD. LADY. And since you cannot rule your self, remember you have made your self my Ward. And, by my Pudicity, 'tis fit; for as the Proverb says, Old Men G. WIN. are twice Children, and therefore my good Lady will be your best Guardian. 685 SIR TIM. Well, I am Noos'd, I confess; however, I am glad my shame is [51] confin'd within my own Family. G. W I N . How your own Family? Remember, Sir, 'tis my Ladies Family by Decree of the Court. ANT. What, does he break our Sentence, Brethren? Let us fill our 690 Seats of Justice again and so proceed. CUDD. No, no, we'll fill the blank with a Resignation of all he has, reserving an Annuity of 501, a year for himself, and swear to it, and then he'll find we were more merciful as Judges than as Kindred. 695 SIR TIM. Hold, hold, I yield. — This comes of Wenching at Sixty. Pray, Gentlemen, you that will be Wenchers, do not begin so late, else you may pay dear for nothing. CUDD. We are all agreed then. PED. Yes, and all Coupled too; for Winifred and I resolve to be 700 Bed-fellows — during pleasure. G . WIN. That is during your good Behaviour. ANT. Methinks just like a Comedy this ends, Lovers embrace their Loves, and Friends their Friends. [Exeunt Omnes.

DRAMATIC WORKS OF ROGER

BOYLE

Our next new Play, if this mode hold in vogue, Shall be half Prologue, and half Epilogue. The way to please you is easie if we knew't; A Jigg, a Song, a Khime or two will do't, When you're i'th' vein; and sometimes a good Play Strangely miscarries, and is thrown away. That this is such, our Author dares not think, For what displeases you's a waste of Ink; And now the Danger of our Thunder's nigh, We have no refuge but to Mercy fly. We yield our selves, and you so gen'rous are, Submitting Foes, though ne'r so great, you'll spare. Gallants! If y'are ofended at our Play, And think w'have coursly treated you today, Think what a famine there is now of Wit, And that we bring the best that we can get; Wit's e'en exhausted, and is almost spent, And you, with little Wit, must be content. Damn'd Plays shall be adorn'd with mighty Scenes, And Fustian shall be spoke in huge Machines; And we will purling Streams and Fire-works show, And you may live to see it Rain and Snow; So Poets save their Wit, they care not how. This all our Scriblers can perform with ease, Tickle the Fools, tho' not the witty please. If you expect true Comedy agen, That represents not Monsters, but shews Men. Your Expectations will be cross'd, we fear, For we have little hope to see such here.

FINIS.

HEROD GREA Τ THE/ Γ

TRAGEDY·/' Λ

Written by the

· .«

Right Honourable t f e ^ E Ä R L of ORRÇfiV.

Herod the Great EDITOR'S

PREFACE

SOURCES. Like the heroic plays of Orrery's earlier period, Herod the Great possesses a seeming historicity of plot, which on closer examination quite disappears to expose the basic fiction of the whole drama. At bottom Herod the Great is sheer romance, but of a somewhat changed form from its heroic predecessors. Orrery has indeed made use of actual historical material, drawn here and there from the narratives of Flavius Josephus, The Jewish War, and The Antiquities of the Jews. The crucial dramatic thread of Herod the Great, i.e. Herod's suspicion and final murder of Mariamne, was suggested by the story of Mariamne's slaying, which is most fully related in The Antiquities, xv, 7. Yet Orrery freely adapted history to suit his purposes, so that almost the whole series of vivid situations in Herod the Great turn out to be purely the product of fertile fancy. For example, the stabbing of Sohemus by Herod at the end of Act III is Orrery's theatrical version of Herod's fatal decree reported in The Antiquities, xv, 7, while the duelling episode involving Herod, Abner, Antipater, and Mariamne, and comprising all Act IV, is wholly Orrery's invention. Josephus offers no inkling of suggestion for the exciting scene of Act V in Mariamne's bed-chamber, where Herod, after the manner of Othello, stabs his innocent wife in sleep, and then, unlike his Shakespearian forebear, is confronted by the supposedly guilty lover, Antipater. Antipater's role as a long-standing rival for Mariamne's affection is in no way hinted by the account of Josephus. And the same must be said for the suicide of Solome, which is the last bit of action in Orrery's play. In fact, the entire conclusion of Herod the Great after the death of Herod bears no relation to history itself. So far, therefore, as the main substance of the drama is concerned, the only portion not fictional is the machinations of Solome against Mariamne and Sohemus, and the fatal results to the latter two. But even into Solome's machinations Orrery has woven the fictitious element of an old passion between Solome and Sohemus. As for the truly historical events or persons mentioned in Herod the Great, the interrelationships have been often distorted by Orrery. This distortion arises from his wise desire to secure proper dramatic

586

DRAMATIC

WORKS

OF

ROGER

BOYLE

compression of the material. In that desire he proves no respecter of fact whatsoever. He arranges Herod's bloody quarrel with Mariamne as an aftermath of Herod's return from a visit to Octavius at Rhodes, whereas, according to Josephus, {Antiquities, x v , 67), the final break with Mariamne occurred at least two years later, after Herod had come back from Antioch, whither he had escorted Octavius, though on the former occasion Josephus reports that altercation and ill-feeling had arisen between husband and wife. More important distortions, however, concern the deaths of the four principal characters in Herod the Great. On the stage all of them depart this life within a few moments of each other, victims of a single wicked intrigue instituted by Solome. In history they were deceased at widely separate times and for various unrelated causes. Mariamne suffered execution c. 29 B.C., while Antipater was beheaded for treason by Herod's order just before the latter's natural death in 4 B.C. Solome survived her brother's demise by some fifteen years, finally to die solely from physical infirmity. These are only among the more notable moves on Orrery's part to telescope dramatically suitable but disconnected historical material; others are referred to in the Explanatory Notes. From the beginning of his playwriting Orrery had practiced effectively this method of historical telescoping, but never did he employ it with more skill than in Herod the Great. STAGE HISTORY. Herod the Great, according to the contemporary letter quoted in the Historical Preface, seems to have been destined for production by the King's company about the time when the Theatre Royal in Bridges Street burned to the ground. That Orrery had actually prepared the play for performance at the King's Theatre is strongly suggested by his careful inclusion in the arrangement of Herod the Great of two colorful "scenes" which up to that date had been almost entirely confined to productions of the King's company. The "obscure G r o t t a " already had appeared prominently at the Theatre Royal in The Indian Queen, The Indian Emperor, Tyrannic Love, and Orrery's own The Black Prince, while " T h e Temple " in the second act of Herod the Great had formed a spectacular scene as the "Temple of the S u n " in The Indian Queen and The Indian Emperor. If, indeed, Orrery had not gone so far as to place his manuscript in the hands of the royal troupe before the theatre fire, it is difficult to explain why he did not simply shift his intention and give Herod the Great to their rivals for performance at the brand new Dorset Garden Theatre. After the misfortune at Bridges Street

HEROD THE

GREAT

587

the King's company were utterly unable, of course, to present Herod the Great in a production with the proper éclat. B y their enforced location at the old Lincoln's Inn Fields Theatre, they were in a sad plight according to Dryden and With sickly Actors and an old House t o o , . . . And with our Ale-house Scenes, and Cloaths bare worn, Can neither raise old Plays, nor new adorn.

Thus the fire of January 25, 1671/2, doomed Herod the Great to remain forever unacted.

Prologue το HEROD the GREAT How various are the Humours of this Age! Sermons at first were follow'd, then the Stage; But that they neither are frequented now, Is a variety we owe to you: One would have thought Extreams which were so vast, As pleas'd the Soul and Sense, might longer last. Your Fathers other methods did pursue, Yet some Fops swear they were as wise as you : They left not Stage nor Pulpit in the lurch; Week-Days they went to Plays, Sundays to Church: And judged the Muses gratious did appear, Presenting them one new Play every Year. But without daily new ones you are cloy'd, And slight Plays seen as Mistresses enjoy'd. For we must say — we'll give the Devil his due, In Wit, as Love, you daily gape for new. Rare Scenes like Opera's, nay She-Actors too, Though they less often Act with us, than you; Whereby — will none here blush when it is said, Some with great Bellies Virgin's parts have plaid? Yet a good Play once acted, you're so nice, You'll go to Church as soon as see it twice. S' Death, Gentlemen, this usage we'll not bear, You are not better than your Fathers were; And if we are not as well us'd by you, We'll shut up House, nay worse, our Women too. Then with Street Cruzors you must have to do, 'Mongst which, you'll sometimes board a Fireship too. When thus in your Chief Pleasures you are crost, You'll value us, like Health, most when 'tis lost.

s

10

15

20

25

30

Dramatis Personae Herod, Antipater, Pheroras, Sohemus, Phaltiel,

The King. His Son by a former Wife. Herod's Brother. Formerly in Love with Solóme.

Samias, Haziel, Polito, Abner, Annanelus, Asdrubal,

Friends to Antipater. e Confident to Herod. The High-Priest. Captain of the Arabian Guards. WOMEN.

Mariamne, The Queen. Solome, Sister to Herod, in Love with Sohemus, but Married to Cossobanes. Tamer, Ì and JWomen to the Queen. Dina, J Mariana, Confident to the Queen. Merab, Woman to Solome. The Ghosts of Hircanus, and Aristobulus, Pages, Priests, Guards, Gentlemen, and Attendants.

Herod the

Great

The First A C T . [SCENE I.]

The first Scene is an Obscure Grotta.

Phaltiel and Samias enter hastily, Antipater comes out to meet them. PHALT.

Through all Jerusalem they have spread the News, Which is receiv'd in Raptures by the Jews·, That Faithless People in their looks display, How much their hearts long'd for this fatal Day. SAM. When Herod to the Isle of Rhodes did go, We all foresaw 'twould prove his Overthrow. Caesar the Friend of Anthony must hate, And make Revenge an Interest of State. PHALT. How natural was it for a Prince to frown, When but by doing it, he gain'd a Crown. ANT. But Honour should have made Octaisius Just, Seising my Father, he deceiv'd his Trust. SAM. Caesar will judge that imputation weak, Since Herod his Safe-Conduct did not seek. ANT. Y e t all the World must this black deed upbraid, The noblest trusts are without Bargain made; The height of Honour Herod's Ruin was, Trusting his Vertue, he contemn'd his pass.

5

10

15

To them Hazael hastily. HAZ.

The Sanhedrim are now resolv'd to meet, T o lay the Crown at Mariamne's Feet: For she in highest Vertue first does shine, And is the last of the Asmonean Line. Sir, You should instantly your self declare, Ere they, beyond Retreat, engaged are.

20

To them Pollio hastily. POLL. Ten of the Priests are from the Temple come, 25 Who told the People in the Hippodrome, That as last night their Sacred Watch they kept, They heard in Tombs, where Kings, and High-Priests slept, Noises, much like to dying Warriors Groans: Then saw great drops spring from those polish'd Stones; 30 Which seem'd to weep, that so much precious Dust, Ere the last day, was Ravish'd from their Trust. PHALT. O Heavens! what may this Prodigy portend?

HEROD THE

POLL.

SAM. POLL.

ANT.

HAZ. POLL.

GREAT

Restrain your Wonder till you heard the End: The Grief, which did those Tears from Marble draw, So Powerful was, it did the Marble thaw. Then from the gaping Tombs there did appear All those who Israel's Sacred Crown did wear: From Saul till fatal Zedeckiah's days; The bad Kings Crown'd with Flames, the Good with Bayes. Every one smote his Breast, and shook his Head; The trembling Priests with fear were almost dead. Sure dismal Changes in this Place must fall, [2] Since Heaven out of their Graves the Dead does Call. But that which most of all increas'd their fears, Were direful Noises which did wound their Ears. Then Troops of Furies did the Priest surround, And danc'd with Impious Feet on Sacred ground. Each Fiend in Course the Dances leading takes, And when they chang'd, all crack'd their Whips of Snakes. The Priests were then yielding to their despair, When all the Furies did resolve to Air; At which the Temples vast Foundation shook, And three times, "Woe," by all the Ghosts was spoke; The Tombs did then with hast their Dead enclose, When straight Aurora pale, and trembling rose, As if she seem'd concern'd and in a fright, At the dire Visions of the vanish'd Night: Nor has the Temple only haunted been, Strange sights have too been in the Palace seen; But yet the Queen her Courage has not lost, Though her slain Brother, and Hircanus's Ghost, Have to th' Arabian Guards appear'd to Night. Nor does it Mariamne seem to fright; Though both the Ghosts did bid them tell their Queen In the black Hall, this Night they should be seen: For she, to evidence she knows no fear, Boldly declar'd, she would expect them there. These are strange things! But th'event must tell, If these Presages come from Heaven, or Hell. Lest in that Dread these Visions have begun, The giddy People to extreams should run, You to the Hippodrome again must go, And let me hourly, all that passes, know. Phaltiel and S amias here with me shall stay. You must resolve, and act without delay. Good Fortune rarely visits him who mourns; But when she does, if slighted, ne're returns. [Pollio and Hazael go out.

59I 35

40

45

50

55

60

65

70

75

592 PHALT.

ANT.

PHALT.

ANT.

SAM.

ANT.

PHALT.

SAM. ANT.

PHALT.

ANT.

SAM. ANT.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Sir, you must now your Father's Army lead, And by their Swords the Crown fix on your Head. 80 O no, my Phalliell why should I pursue Gaining that Crown, which to the Queen is due? 'Twere Sin if I her double Right withstood; 'Tis Hers by merit, and 'tis Hers by Blood. Since you Her Right above your own prefer, 85 First take the Crown, and then present it Her. Giving a Crown which I that way shall win, To pay a Duty, I must act a Sin; But if the Crown I from her Love receive, To the great Gift 'twill double Lustre give. 90 O, Sir, that guilty hope you should suppress; The Queen can never make your happiness: Her Vertue should in you all thoughts remove, E're to possess her by Incestuous Love: And 'twould eclipse the Glories of your Life, 95 Should you attempt to wed your Father's Wife. My Father's Wife! Witness ye Powers above, She was first mine, by Sacred Vows, and Love. But as the Priest our willing hands did ty, [3] Herod from me forc'd her by Tyranny; 100 For which my Sword I did against him draw. He broke Our Match, and then I broke his Law. No one can say but he in that did ill; Yet, Sir, Forget not, he's your Father still. And to that Sacred Name a Debt is due. 105 And to offended Love there is so too. All that I ow'd, he to himself did pay, That Life he gave, he more than took away. These guilty Tears which from my Eyes would flow, Too little Love, and too good nature show. no [Wiping his Eyes. Blame not that Piety which makes you mourn; Consider, Sir, your Father may return. That thought in your belief should find no room, A Prince's Prison's Prologue to his Tomb. The Folly equal to the guilt would be, 115 First to Restrain, then set a Monarch free. He never can again his freedom win. Grant it, yet Incest is a Crying Sin. Methinks that word alone should make you start. Incest, most think, is but a term of Art, 120 A name with which the Priests keep Fools in aw, For no such thing is found in Nature's Law. He must himself, and not his Fortune blame,

HEROD THE

593

GREAT

Who from his Joyes is frighted b y a Name. PHALT. W h a t we have said we wish we could unsay, 125 Since it augments the Storm it should allay. SAM. B u t in a calmer hour we hope 'twill move. ANT. YOU speak your Friendship, and I speak m y Love. Y e t I conjure you leave me for some time, Else you will both participate my Crime: 130 For I am now into a Chaos hurl'd, Darker than that, which first involv'd the World. PHALT. (to Sam.) (His Passion thus oppos'd does higher grow. ) SAM. M a y Heaven that Quiet which you want bestow. [Phalt. and Sam. go out. ANT. Before she knows I live, 'tis fit I see 135 If she preserves her Constancy to me: B u t if my feign'd Death made her prove untrue, What Herod thinks is done, my hand shall do. [Ant. goes out. [SCENE II.]

The Scene is a Magnificent Apartment.

Enter Solome, who is met by Merab. MER. SOLO. SOLO.

Madam, the Prince Sohemus now is come. Call him, and when he enters, leave the room. 140 [Merab goes out. How should I, without blushes, on him look, Whom while we lov'd, so meanly I forsook. Merab introduces Sohemus, and then goes out again.

SOHE. SOLO.

SOHE.

Sohemus, does it not your Soul surprise, T h a t Solome is without weeping Eyes, When Herod now is Dead, a Loss so great, T h a t all our Glories, in his fall, are set? Madam, th' Assaults of Fate, though ne're so rude, Have still been Conquer'd b y your Fortitude. This Conquest you ascribe to a wrong Cause; 'Tis Love alone, which to m y grief gives Laws. Nothing can now my Inclinations cross; This Joy does more than recompence that loss. For I can now do your brave Passion right; Our hearts which Power divorc'd, Love shall unite. I am amaz'd to hear such words as these; Madam, have you forgot Cossabanes, T o whom b y Sacred Marriage you are ty'd, And how you did m y grief for him deride, A grief, which I one day could not have born, And which my Death had cur'd, had not your scorn?

145

[4] 15p

155

160

594

SOLO.

SOHE. SOLO.

SOHE. SOLO. SOHE.

SOLO.

SOHE. SOLO.

SOHE. SOLO.

DRAMATIC

WORKS

OF

ROGER

BOYLE

Though I was forc'd by Herod's stern Command, T o give the abhorr'd Cossabanes my hand, Y e t 'twas above his Tyranny, and Art, T o make me from Sohemus give my heart. Your doubts of me on a false ground are built, Y o u should not call my punishment my guilt. Ah, to that Punishment you seem'd inclin'd. I seem'd more faulty, but to be more kind. For had you by my words, or Actions, seen How firm for you my Passion still has been, Your Love, or your Revenge, had made you run T o those extreams, I found it wise to shun: With Joy I did submit to be his Wife, Since I had no way else to save your Life. Could you think fit to me your Love to give, Y e t hope I could the loss of it outlive? In that fierce Storm we then did both endure, A seeming scorn could only be your Cure. The Power of Love for me you never knew, Since while you lov'd, you seem'd to scorn me too. Darkness, and light may both together reign, As well as perfect Love, and such disdain. Though a Just Person may a Sin commit, Y e t his Soul trembles, while he's acting it: But when your Vows to me you did decline, Nothing but Joy in your fair Eyes did shine. Though for your sake I did that guilty deed, Y e t while my Face did smile, my Heart did bleed: I did, to break that match, all I could do, Both with Cossabanes, and Herod too: But when all fail'd to which I had recourse, I from my heart, that Brother did divorce; And on his Ruin ever since was bent, In hope of this blest time, Heaven now has sent. These are strange Secrets which you now declare. Listen, and I will tell you stranger far: 'Twas I made Herod to Odavius go, And made Pheroras wait upon him too ; T h a t Caesar having both, might more incline T o cut off the Male Race of all Our Line. 'Twas I made Herod to all else unjust, And leave his haughty Wife to your sole trust; With Orders, if he Caesar did not win, You instantly should put to Death his Queen. He told me none but I those Orders knew. YOU see he told you then, what was not true.

165

170

175

180

185

190

195

200

205

HEROD

THE

SOHE. SOLO. SOHE.

But to what end did you those Crimes pursue? For my great End, that of obtaining you. Madam, against the Power of Heaven you strive.

SOLO.

How's that?

SOHE.

SOLO. SOHE. SOLO.

SOHE. SOLO. SOHE.

SOLO.

SOHE.

595

GREAT

[5]

210 I S n o t Cossabanes

alive?

'Tis Man, not God, makes Marriages by force; Therefore this day I sent him a Divorce. That right is only by our Sex enjoy'd. That Usurpation I for you destroy'd. 'Tis just, where two under one Contract are, That they alike, the priviledge should share. Affection only ties true Wedlock Bands; Where hearts divide, in vain Priests join the hands: He now in his Arabia does reside, Where I have sent him leave to choose a Bride. Now if you act your Prince's last Command, Nothing between us, and our Joyes doth stand: For when the Queen you have of Life bereft, I only of both Royal Lines am left: Then will a Crown which my free Love bestows, [Sohemus starts and trembles. Make some Atonement for my breach of Vows. W h y do you start, and such disturbance show? 'Tis at the Mischiefs you would make me do. TO a true Subject then can any thing Look like a Crime, when 'tis t' obey his King? Those who by Power alone have Scepters sway'd, Ought not, when Dead, to have their wills obey'd: Only to Lawful Kings that Duty's shown. Then do it for my sake, or for your own. I would have done it ere I spoke of it, But that to me it did appear unfit; That I for you should every guilt contract, And leave you for my sake, not One to Act, Too much it did like to Engrossing look; But finding now how highly I mistook, Admit me to this Queen, and you shall see, I dare do more for you than you for me.

215

220

225

230

235

240

W h o lets y o u act the Sin he can withstand,

245

SOHE. SOLO.

Does himself act it by another's hand. Will you not then let me a Crime commit, Of which you are to have the benefit? O Madam, were you now what once you were — What Herod forc'd me to, I will repair.

SOHE.

But Oh —

250

SOLO.

ζ φ

SOLO. SOHE. SOLO.

SOHE. SOLO.

DRAMATIC WORKS

ANT.

ROGER

BOYLE

But what? Speak without more delay; I'm arm'd against whatever you dare say. But wrongs which Honour, and which Love endure, From those who did them, can admit no Cure. Ungrateful Man! Have I in vain for you 255 Ruin'd my King, my Fame, and Brothers too? Through all your Vails I see what you would hide, I could not else thus rudely be deny'd. Madam, but hear me out — I'll hear no more. 260 'Tis Mariamne's Beauties you adore: What you would not confess, your blushes do; I fear'd the Change, and now I find it true. No other Passion could so powerful be, [d] As thus to make you scorn a Crown and Me. 265 Begone; and to your Cost you soon shall prove, A Woman's hatred does transcend her Love. [They go out several ways. [SCENE III.]

PAGE. ANT. PAGE.

OF

The Scene changes to a spacious Room all black.

Antipater muffi'd up with a Cloak, and a Page with a Flambeau. 'Tis in this Room the Queen will watch to night. Where I may see, and yet be out of sight. There you may all things see, and not be seen: 270 But should this be discover'd to the Queen, I shall, past hope of Pardon, be undone. Fear not, there's your Reward; and now begone. [He flings him a Purse, which the Page takes and goes out. Love only could this strange Design inspire. [A noise within. What noisè is that? [He looks. — The Queen! I must retire. [He conceals himself. 275 Enter the Queen and Mariana who bolt the door after them.

MAR. Why to these Horrors, Madam, will you run? QUEEN. 'Tis brave to seek, what 'tis in vain to shun. One of the noblest Joyes that is above, Is there to meet those whom we here did love. Since Fate to grant that Blessing does delay, I would possess what here of it I may. MAR. Should the best Friend of mine that's dead appear, I should be soon as dead as he with fear. QUEEN. Poor Mariana\ this too much doth show Thy Soul the Charms of Love did never know.

280

285

HEROD THE

GREAT

Hadst thou been ever warm'd with that blest Fire, What makes thy fear, would then be thy desire. Sure you at Herod's Ghost would startled be. MAR. His Ghost! — 'tis all of him I long to see: QUEEN. But since Hircanus and my Brother have The Priviledge to wander from the Grave, And pay their Visits where they're justliest due, Why may not Antipater do it too? For if Departed Souls about them bear Those Vertuous Loves, which did inflame them here, No place to him a place of Joy can be, Where he is banish'd from attending me. But durst you look on Antipater's Ghost? MAE. Q U E E N . Durst I? Y o u know that I disdain to boast; But though he were in that dark place of pain Which Priests do preach of, and which Poets feign: Y e t there, were I but sure with him to stay, I would — I would do more than I will say. But an Infernal shape like his may seem. MAR. Q U E E N . Nothing Infernal can resemble him. [ A great flash of fire. Bless me! what means this sudden flash of light? MAR. M y trembling Knees do one another smite; M y Hair does stare; I scarce can draw my Breath; And a Cold seises me like that of Death.

597

290

295

300

305

[A second flash of fire. QUEEN. Guard me, ye blessed Angels, for I find 310 M y timorous flesh strives to infect my Mind: In Fears Men Sin, I scorn to be involv'd; [7] What is it can resist a Soul resolv'd? While terror does the mortal part invade, T o the Immortal, it should Courage add. 315 Why, Mariana, dost thou tremble so? Canst thou be Innocent, and fearful too? MAR. I dare not stay more Prodigies to see; Impute this Rudeness to my fear, not me. [Mariana goes out trembling, and shuts the door after her. [A third, and greater flash of fire. Hircanus's Ghost rises, drest in the High-Priest's Habit. QUEEN. (Ha! 'tis Hircanus Spirit does appear, 320 But why should I my Mother's Father fear? See how he shakes his Head, and seems to groan. ) Oh, since 'twas Herod that Usurp't your Throne, Why do you not him, or his Ghost pursue, Rather than me, who still does weep for you? 325 [Another flash of fire.

598

DRAMATIC

WORKS

OF

ROGER

BOYLE

Aristobulus's Ghost rises in the Like Habit. (More Horrors yet! 'tis Aristobulus.) What makes you, my dear Brother, haunt me thus? Is it because that I was Herod's Queen, And that by him you both have murthered been? 'Twas by Hircanus, and by your Command, That to the Tyrant I did give my hand; But when to that dire deed I did consent, Of both your Murthers, he was Innocent. [The two Ghosts shake their heads. Then I perceive you judge that I did ill, Not to kill him, who both of you did kill. But Heaven does know, I fear'd to do amiss, And by a Sin of mine to punish his. ARIST. Y o u little know the blest place where we are, GHOST. Who think, Revenge can find admittance there: Nothing so Hellish up to Heaven can fly; Passions in Bodies live, and with them dye. HIR. No, Mariamne, we both now appear, GHOST. T o tell you, that your hour of Death is near; And then from Death you must to Judgment come, T o hear from Justice self, your endless doom; Before that Bar Actions are truly weigh'd; The Kings, and Slaves, are in one Ballance laid: Mitres, and Crowns, which here the World adore, If ill employ'd, are weights to sink us more. Life's but a Race, the longest quickly ends; Y e t on it, our Eternity depends. ARIST. ETERNITY ! That word so much does weigh, GHOST. AS if it were pronounc'd but once a day; With the Belief, and Reverence that is fit For Worldly trifles, who durst hazard it, Since but one Moment of those Joyes w' are in, Does far transcend the longest Charms of Sin? HIR. Farewel; Remember your last hour is near. GHOST. [The Ghosts descend. QUEEN. Only the unprepar'd should dying fear. Blest, and Kind Ghosts, who Heaven awhile could miss, T o teach me here the Glorious Way to Bliss. ANT. (The Queen's great Soul is a Reproach to me, (within She speaks with those I trembl'd but to see: the Now that the Ghosts are vanish't, I'll appear. ) Scene.) [He makes a noise. QUEEN. (More Ghosts; or am I cheated by my Ear?

330

335

340

345

350

355

360

365

HEROD T H E

GREAT

599

Antipater appears. H a ! 'tis Antipater's dear Ghost I see; In Death as Life he is still kind to me. ) Stay, stay, you blessed Spirit; for I know, Assuming of that shape, you must be so. Come you to tell me of m y dying too? N o news unwelcome is that's brought b y you. Or com'st thou to accuse me that did wed The bloody Tyrant, who cut off thy Head? A h , Generous Prince, it was to save your Life T h a t I did yield to be the Monsters Wife. M y kindness only made me seem untrue, A n d for your sake, I became false to you. M a d a m — I am not Dead — ANT. QUEEN. N o t Dead? — O why D o you, alas, the fatal truth deny? B u t know, (for I now see what you would do) I dread not Death when I m a y go with you. This unkind Doubt of me does make me fear, Lovers in the other World love less than here. ANT. B y your fair Eyes, the Oath I value most, I am Antipater, and not his Ghost: And, if of what I swear you doubtful stand, Allow me to confirm it on your hand. QUEEN. T a k e it — but wonder not I tremble so; T h a t ' s fit, whether you are a Ghost or no. [Antipater kneels, kisses her hand in such transports, that she endeavours to withdraw it·, but he still holds it. ANT. W h y to this Joy would you a period give? QUEEN. I would not know by guilty proofs you live. [She withdraws her hand. I am convinc'd that you no Spirit are, B u t how you scap'd, I beg you will declare. [He rises. ANT. T o tell that story I too dearly pay, Y e t since it is your will, I must obey. When Herod's Guards did m y Revenge prevent, T o Massada I was close Pris'ner sent. T h e Generous Satnias, to whose Friendly Care T h e Orders for m y Death intrusted were, Beheaded a young Slave of his b y night, A n d to his B o d y paid my Funeral right; Which made all Palestine, and Herod too, Think he had done the Sin he bid him do. T h u s Heaven preserv'd whom Herod meant to kill, B y which I now have priviledge to kneel, [He kneels.

370

375

380

385

390

395

400

405

600

QUEEN. ANT. QUEEN. ANT.

QUEEN. ANT. QUEEN. ANT.

QUEEN. ANT. QUEEN.

ANT.

TAMAR, QUEEN.

DRAMATIC W O R K S OF ROGER

BOYLE

A n d beg thus at your Feet that you will give T h a t Joy, which if deny'd, I dare not live. Rise, Generous Prince — A h , what is't you implore? T h a t Blessing now you could not grant before. Into the blackest Incest I shall run, If I should wed the Father, then the Son. True Love mistaken Scruples should despise, The hand of Death cancels all humane tyes. Dare you not end what Love made you begin? [ç] Prince, I for you dare dy, but dare not Sin. B y such false Maxims be not kept in awe. B u t Incest is forbid, by Heavens great Law. If Incest, Madam, be the Sin you fear, I of that Incest the whole Guilt will bear. M y Love were neither generous nor true, Would I not act one Crime to purchase you. A h , do not ask what Heaven bids me deny. Then give me leave, here, at your Feet to dye. [Ant. offers to draw his Sword. Hold, Generous Prince, I might as soon agree T o Sin for you, as let you dy for me: B u t if you think your Cure in Death to find, Be not so Cruel to leave me behind: D o not refuse what now I press you to; Or live with me, or let me d y with you. Alas, when of your dying I but hear, All my despair I yield up to m y fear. [A great knocking at the door. (within.) O Madam, Madam. T h a t ' s Tamar's Voice. Retire awhile. I know Something Important brings her hither now. [Ant. retires within the Scene.

410

415

420

425

430

435

The Queen lets in Tamar. TAMAR. Madam, I hope this Rudeness you'll excuse, Since 'tis to bring you most surprising News. Herod, whom we believ'd, till now, was dead, From his Restraint is b y Octavius freed; A n d Caesar on him has confirm'd the Crown, A n d what's as strange, Herod is now in Town. H e fear'd some Insurrection from the Jews, A n d therefore brought of his Success t i e News. The Sanhedrim to his great Fortune bend, A n d through the Streets they all on him attend. QUEEN. Never a greater Change was wrought b y Fate.

440

445

HEROD T H E

GREAT

6oi

To them Dina hastily. DIN. QUEEN.

Madam, the King is at the Palace Gate. Will my Misfortunes never have an End? In my Apartment all of you attend. [Dina and Tamar go out. Antipater comes out. You hear the News of this prodigious turn. 450

Yes, Madam; but what News should make me mourn, For I have nothing now to hope or dread? Herod's alike to me, alive or dead: Y e t my Complaints my D u t y shall subdue, Since I can now complain of none but you. 455 QUEEN. D o not complain of her whose only fault Is that she loves you much more than she ought. After these guilty words I dare not stay; Shame now, like Herod, hurries me away. [Mariamne goes out. ANT. Prodigious Fate! what is't thou dost mean? 460 How in an instant hast thou chang'd the Scene! But thou hast Joyful hours as well as sad; The good I'll court, and I'll outbrave the bad. [Ant. goes out at the door he entred. ANT.

A C T II.

[10]

[SCENE I.] The Scene opens. The Temple appears, and Herod seated on a Throne within it. On his right hand Annanelus the High-Priest stands drest in all his Pontifical Habits: On his left hand Pheroras, Abner, Phaltiel, Samias, Asdrubal, with all the Courtiers and the Guards. The Singing Priests are all in their white Robes, with wreaths of Laurel on their Heads·, after some time of silence, the chief Singer lifts up his right hand, and then the whole Quire of Priests sing the following Song. SONG. Those Clouds which dare the Sun obscure, But a short time endure·, And when he breaks what did his Light confine, His beams with brighter Lustre shine. So Herod's Danger which we did deplore, Serves but to raise his Glories more·, He now appears to his glad Subjects sights, Like cheerful Mornings after stormy nights.

5

6o2

DRAMATIC

WORKS

OF

ROGER

BOYLE

In sign that we this blessing prize, We offer up whole Herds in Sacrifice: [Flames are seen behind the Theatre in the Temple. And flaming Incense on our Altars burn, To Celebrate Our King's return : Since to this Temple he new Life does give, His Fame shall in his Piety still live.

10

This Song is to be sung twice by the whole Quire of Priests·, at the first ending of the Song Herod descends from the Throne, walks out over the Theatre, attended by all, having a Canopy of State carryed over him by four. By that time the Priests have ended the Song the second time, the last of the Procession are to be gotten of the Theatre, and then the Scene of the Temple is to be closed by the Scene of [SCENE I I . ]

Herod'S

Apartment.

Enter Herod, Pheroras, Abner, Phaltiel, Samias, Asdrubal, and the Arabian Guards. PHER. HER.

PHER.

HER.

PHALT. HER.

T h e Sanhedrim are a t your Palace Gate, A n d beg admittance. NO. There let them wait. B y Fear, not Love, they now are hither drawn; Base Spirits! when insulting fails, they fawn. When they but dreamt Fortune had cast me down, T h e y did consult how to bestow my Crown. Since they'll not tell on whom that guilt does fall; Rather than punish none, I'll punish all. Justice must not be mockt. B u t Justice then Should not designedly punish guiltless Men. Because to you the faulty are not known, You'll punish All, rather than punish none. Since all were present at the black Debate, 'Tis they the Guiltless must discriminate. M y Resolution is on Justice built; W h o in this Case conceals, does share the guilt. Pheroras, take my Guards, and carry all T h e Sanhedrim into the Judgment-Hall; There torture them, till you from some have got, W h o first propos'd, and then approv'd the Plot. T h e Jews will rise in Tumults through despair. Tumults the Frenzies of the People are. A n d who in Frenzies strive must be withstood; Such fits are quickly cur'd b y letting Blood.

15

20

25 [11]

30

35

40

HEROD THE

SAM. HER.

PHER.

HER.

ABN.

HER.

ABN.

GREAT

'Tis hard with a whole Nation to dispute. But harder when Kings are not Absolute. He of a Throne should be unworthy held, Who to his will makes not his Subjects yield. Who to obtain that end his Life does give, Does do more glorious than he else can live. Brother, you seem as if you were afraid: [To Pher. Go you; and see these Orders now obey'd. [To Phalt. Sam. and Asdr. Sir, I will never give you cause to say, That what you Order, I dare not obey. Come all with me — [Pher. Phalt. Sam. and Guards go out. Abner, to thee alone M y Counterfeited Passion I made known; But now I fear 'tis Mariana's due, That false Love made to her must change to true; Love by her Eyes that Fiction, would upbraid, And burns me in those Flames with which I play'd. Sir, since the Queen some coldness did express, While she unrivall'd did your heart possess, M a y it not, Sir, provoke her to despair, Seeing anpther in that Glory share? Perhaps it may — Perhaps too — It may not, Few Women are by reason lost or got: Since to the Love I paid her shee'd not bend, I try'd a different way to reach my end. Y e t Abner, I must say, to be possest As much of hers as she is of my Breast, And to enjoy that Monarchy alone, I would despise the Universal Throne. Though I her Coyness, and her Pride abhor, Y e t her triumphant Beauties I adore. Oft I resolve her coldness to resent, But I as often that Resolve repent. How was it Mariana did receive Those Jewels which to her I bid you give? AS soon as the va,st present she had seen, She said, I had mistook her for the Queen; But when to her I solemnly did swear, That they by you presented were to her, She trembl'd instantly, then blushing said, They were too mighty Presents for a Maid; And beg'd me I would make you her Excuse, Since 'twas her Vertue did those gifts refuse: Then from the Chamber she in hast did go. [12]

603

45

50

55

60

65

70

75

80

604 HER.

DRAMATIC WORKS OF ROGER

BOYLE

She had good Cause; the Off'ring was too low. 'Twas fit so great a Beauty should decline A present made by any hand but mine. 0 Love, where didst thou get the Power or Art, Thus to erect two Thrones within one heart? That Empire must be stormy, and decay, In which at once two different Powers bear sway. M y Queens aspiring Soul does daily rise; Her Mind is as Imperious as her Eyes, While Mariana with as Conquering Charms, B y her humility my heart disarms; Thus to subdue me Opposites agree, Y e t both produce the same effects in me. Let the Queen know I'm to the Garden gone, And tell her, I expect her there alone. [Herod and Abner go out several ways. [SCENE

III.]

85

90

95

The Scene the private Gallery of Herod's Palace. Sohemus meets Mariana.

SOHE.

MAR.

SOHE. MAR.

SOHE.

O Sister, I am now for ever lost; M y flatt'ring hopes by my ill Stars are crost: The Queen to my Address does cruel prove, M y Services she takes, but slights my Love, While Solome her former flame renews, And with such guilty Love my Love pursues, That I perceive 'tis the Decree of Fate, 1 must be ruin'd by her Love or hate. If you but for the Queen can Love admit, Solome must be paid with Counterfeit; Else all your hopes of Live will be but Dreams; Her Soul no Passion knows but in extreams. Sister, you know my Heart could never brook Whatever did but like dissembling look. Dissembling must to you uneasy be, And to perswade you to it, is to me; But since on you depends all I hold dear, M y Virtue now indulges to my fear. When in this Love you did at first engage, The sad effects of it I did presage; Now my Prophetick fears I find are true, — But may it not be yet supprest by you? O 'tis in vain me to that change to move; Who once lov'd well can never cease to Love.

100

105

no

"5

120

HEROD THE GREAT

MAR.

S OHE.

MAR.

SOHE.

605

Then you at first lov'd Solome but ill, Or by that Rule you ought to love her still; 125 And if for her a Passion you did feign, For both Our Sakes dissemble it again. Though once her Beauties gave my Heart the Law, Yet her Change froze more than her Eyes can thaw. And you as well may raise the dead again, 130 As Love which has been murther'd by disdain: Solome order'd me to meet her here — Sister, retire. Yonder she does appear. O, ere I go, let me this promise win, That you'l not think what saves us both a Sin. 135 This on my Knees I would of you implore. [13] [Mar. says the last Verse as she is going out. I'll do what Honour bids me, and no more. Enter Solome.

SOLO.

SOHE.

SOLO.

SOHE.

SOLO. SOHE. SOLO. SOHE.

Though the last usage I endur'd from you, Made me resolve your Ruine to pursue; And by the Power which I with Herod have, I with one word can send you to your Grave: Yet Love has purchast for you a Reprieve, And makes me this last meeting to you give. You know the trust which he on you did lay, And Love, I know, made you that trust betray: Herod, as Lawful King, you would not own. Either of these, by me, to him made known, Would raise his Anger, and Revenge so high, As nothing but your Death could satisfy. Madam, you need not to your Brother sue To take a Life that is abhorr'd by you. From me your Will shall no resistance meet; I freely lay it, Madam, at your Feet. Your Life, Sohemus, would my Blessing prove, If you would reassume — your — former — Love. [She puts her hand before her face. Why would you have that Passion live again, Which, when you could reward, you did disdain? In pity, Madam, do not press me more, To suffer Shipwrack twice upon one Shore. I told you Herod forc'd me to that Crime. Force which once aw'd you, may a second time. But to repeat a Sin few dare consent, Of which they once did really repent. Herod I know will make you soon repent Of that Divorce you to your Husband sent.

140

145

150

155

160

165

6o6

SOLO.

SOHE. SOLO.

SOHE.

SOLO.

SOHE.

D R A M A T I C WORKS

OF ROGER

BOYLE

Brother, and King, Husband of best degree, Are empty Names to one that loves like me. Do but declare that I possess your Heart, Then all the rest trust to my care and Art: Those who oppose me I'll to Death pursue, And in vast Crimes shew as vast Love for you. So much your Servant I resolve to be, That you shall never act a Crime for me. Perfidious Man! since you my Love disdain, I'll tear you hence, where you too long did raign: All those Objections you to me did move, Were, now I see, to triumph o're my Love; And when all Obstacles I would subdue, I find my greatest, nay, my Only — You. Were I as proud, or false, as now you say, I might with ease you by your Love betray: But by my Faithfulness I make you shun Crimes, which would make you hate your self when done: Ah, Madam, 'tis severe to use me thus; We give not Laws to Love, but Love to us: Could we at will quench or revive his Flame, You'd kill that Love which now you blush to name. If what I say cannot your wrath asswage, Here, in my Blood, be pleas'd to drown your Rage. [Opening his Arms. If over Love I could the Victor prove, [74] To whom I give my Life, I'd give my Love. TOO deep a wound thy bold contempt affords E're to be heal'd by Fawnings and by words. Since thou with scorn my proffer'd Love dost brand, 'Twere too great Death to perish by my hand. [Striking her Breast. Thus — with one blow Love's Image I deface; Revenge, do thou ascend, and take the place. In thy black Empire few successless prove, Whose Hearts are fill'd with Rage, as once with Love. [Solome goes out. I see her fury cannot be withstood, She will allay this tempest in my Blood: Y e t to my Death 'tis nobler to submit, Than to Contract a guilt which merits it. [Sohemus goes out.

170

175

180

185

190

195

200

HEROD T H E

[SCENE IV.]

GREAT

607

The Scene the first obscure Grotta.

Enter Antipater, Pollio. ANT. POLL. ANT.

POLL. ANT.

Disswade me not; by all my hopes I swear, Nothing shall hinder me to wait on her. Your Life in doing it will hazard run. 'Twill run more hazard if it be not done: For Life on no account to me is dear, But only as it does belong to her. Lose not that Life which for her sake you prize. Ah, 'tis not Life while banish'd from her Eyes.

205

210

To them Phaltiel and Samias. PHALT.

Sir, from the Judgment-Hall we now are come, Where forty noble Jews receiv'd their doom: T h ' Arabians putting many to the Rack, Which in the Plot did not at all partake, The rest urg'd by a Vertue most sublime, The guiltless clear'd, and did confess their Crime: But those which were absolv'd did boldly say, They'd rather perish than be sav'd that way. SAM. Never did men so generously contend, Each would have lost his Life to save his Friend. ANT. M y Father's Crown and Life in danger lies, Attempted thus by them who Death despise. SAM. He that in this great Action led the way, Was Abner's Father, aged Barzillai: All hop'd the favour Herod shews the Son, Would for the Father a Reprieve have won: But as we came out of the Hippodrome, The Orders that he first should dye were come. ANT. What is this Abner, for whose sake you thought M y Father might from his revenge be brought? Since my disgrace he did to favour climb. PHALT. TO draw him, Sir, a;t length, requires much time. He is, to give his Character in short, In War most fierce, most humble in the Court. Who merits favour, yet obtains it not, In him unask'd an Advocate has got. Respect for him he in all hearts has bred, Because it is not sought, but merited. Malice does fear such Vertue to pursue, [15] Which makes him favour'd without Envy too.

215

220

225

230

235

24a

6o8

DRAMATIC

WORKS

OF

ROGER

BOYLE

Enter Hazael hastily, who takes Ant. aside. HAZ.

ANT.

Tamar your Trust did with such Joy receive, And in such Raptures learnt you were alive, That in disguise, as you desir'd, she's gone T o Nathan's Tomb, to meet you there alone. Your stay with her she begs may be so short, As none may mind her absence from the Court: Where over her there are suspicious Eyes. M y Joys from this blest meeting take their Rise. M y generous Friends, excuse me for one hour; I'm drawn from hence by Love's Resistless Power. Mean while, disperse your selves in several ways, For this rough Justice must a Tempest raise, And drive into despair the furious Jews: What e're you learn, let me soon hear the News.

245

250

255

[Ant. and Haz. go out hastily. Ρ HALT.

I'll try to stay him.

SAM.

Do not, 'tis in vain. Reason and Love never together reign. [Sam. Phalt. and Poll, go out. [SCENE V.]

The Scene is the Palace-Garden.

Enter Herod and the Queen. HER.

'Tis to Agrippa, Madam, that I owe A t once my Liverty, and Kingdom too. With such success he did my Cause debate, As he did alter what was thought my Fate. QUEEN. Does it not meanly in a Monarch show, Both those to a Proud Roman King to owe? But to his Subject thus in Debt to run, Is what I should elect by Death to shun. HER. Freedom you seem, and Empire to abhor. QUEEN. NO; I love both, but I love Glory more. For those who do not Glory more esteem Than Life and Empire, cannot merit them. HER. Y o u my Return so coldly entertain, As if some other in your heart did reign. QUEEN. I for your absence had no cause to mourn, Nor can I joyful be for your Return. Neither in me had reason to prevail, Since I but chance my Jaylor, not my Jayl. Your part Sohemus acted, you being gone; And now you are return'd you act your own.

260

265

270

275

HEROD

HER.

QUEEN.

HER. QUEEN.

HER. QUEEN.

HER. QUEEN.

HER.

QUEEN.

HER.

QUEEN.

HER.

THE

GREAT

While Rules of Honour you on me obtrude, You quite forget your Debts of gratitude. 'Twas I that rais'd you to my Bed and Crown, When all your House were by their Fate cast down. YOU made them Victims to your Pride and Hate, And then ascribe their Ruins to their Fate. With them I rather would have lost my Life, Than be Condemn'd to live their Murtherers Wife. Madam, there are affronts which press so near, That 'tis beyond the strength of Love to bear. And there be Loves which so offensive are, That to be hated were more pleasant far. Take heed! your Death may end so bold a strife. You should not threaten me with Death but Life. Oh cursed Herod, to give all thy heart To her who is unworthy of a part. 'Tis hard to credit I have all your heart; Sure •— Mariana — does possess a part. Love that divided is must quickly fall. Then Mariana shall possess it all. Unworthy 'tis of Monarchs, nay of Men, To pay their Loves where they're not lov'd again. He merits scorn who tamely scorn endures; Yes, I'll recai my heart as you do yours. The losing such a heart should I take ill, Which you can give and take when e're you will? Pray teach me too how I should grieve for it. — Yet such a Passion is for her most fit, Whose Family you for her sake thought good To waft to Heaven through a Sea of blood: Of this new Love let this new proof appear, By the like passage pray, Sir, send me there. The greatness of your Love will more be seen In making me your Martyr than your Queen. Spight of affronts so sensible and high, Yet for you Beauties sake you shall not dye; Since while you scorn me I my wrath subdue, Judge how I'd love you, would you love me too. Love you? Methinks at those two words alone, I hear the Ghosts of all th' Asmoneans groan. Should I once more that guilty motion hear, Out of their bloody Urns they'd all appear : And could I grant that Love which now you crave, They'd fright me with their looks into my Grave. AS well your weakness as your hate I see; Can you fear Ghosts, and not fear angring me?

6ιο

DRAMATIC

WORKS

OF

ROGER

BOYLE

The dead ne're to the living durst appear; Ghosts are but shadows painted by our fear. But were your House reviv'd, did they all reign, M y looks would fright them into Ghosts again, Looks which, if you your Crimes do not redeem, Shall act on you what I but talk'd of them. QUEEN. Your trembling Limbs could not your weight sustain, If once you saw me head that Ghastly Train: The sight would make the Crown upon your brow Totter as much as Usurpation now. If you doubt this, let me to them be sent. Heavens, how I long to try th' Experiment! HER. Imperious Woman, by thy Pride and hate, Thou hast at length hurl'd on thy self thy Fate. Were I as timorous as thy weak Sex, Me thy Contempt more than thy Ghost would vex. Ho, who waits there?

325

330

335

340

Enter Gentleman. Go instantly, and call Some of the Arabian Guards, and Asdrubal. [Exit Gentleman. Since thou so longst in hope to frighten me T o be a Ghost, that Ghost thou now shalt be: In my Apartment thou thy Life shalt lose, And I that place before all others chose: That if thy Ghost to me it self dare show, [17] The trembling shape shall not have far to go. QUEEN. Though all the Asmoneans dy'd by your Command, Y e t let your Wife, pray, dy by your own hand. You should in Justice some distinction place In murth'ring her, and others of her Race. I do not beg you would delay my Fate, But that your self would shed the blood you hate. Since I the Title of your Queen possest, D o not deny my first and last request. Here — let your Sword your own Revenge pursue, [Opening her Arms. And pierce that Heart, your feign'd Love could not do. HER. Feign'd Love! Witness ye Sacred Powers above, What she calls feign'd, till now was Real Love, A Love which here did with such Empire Reign, As nothing could have quench'd but her disdain: Ah, what to prove it could I more have done, Than for thy sake to kill my only Son.

345

350

355

360

365

HEROD

THE

GREAT

6ll

Enter Asdrubal and the Arabian Guards hastily. Seize on the Queen, and let her then be led T o my Apartment, there to lose her Head. ASDR.

T h e Queen, Sir?

HER.

Yes, the Queen! Didst thou not hear, Or is that Question ask'd me by thy fear? 370 ASDR. How should I touch the Partner of your Bed? HER. Her Death delay'd, shall forfeit thy own Head. ASDR. Madam, Thus at your Feet my self I lay, T o beg your Pardon, that I dare obey. QUEEN. YOU have it, Sir. Why should you troubled be? 375 A t once obeying him, You pleasure me. [Asdrubal takes the Queen by the Hand to lead her out. HER. NOW let her to her Death be led away. QUEEN. 'Tis your first Order I with Joy obey. [Asdrubal leading her out, but still looks back toward Herod. HER. (Heavens! with what Tortures is my Bosom torn! I neither can Revenge, nor bear her scorn. 380 M y Soul was rack'd till I her Death decreed, And now the Doom is given, my Heart doth bleed.) [ When Asdrubal has almost led the Queen of the Theatre, Herod goes hastily, and taking her from him, says: How dar'st thou on my Queen thus lay thy hands? ASDR.

T h e S i n I d o , is, S i r , b y y o u r C o m m a n d s .

HER.

TO wait on Kings thy Judgment is too weak; Thou knowst not when Justice or Rage does speak. If Passion hurls us out of Reasons way, 'Tis the best D u t y then to Disobey. If you Reprieve me from the wish'd for Blow, You'll grieve at it ere long, as I shall now. Your Hate, and your Disdain, I will outbrave; Love has reverst the Doom which Anger gave. You with the Guards have leave now to retire. [Asdrubal and the Guards go out. Death is deny'd, becaue I Death desire. Madam, retire, and do not by your stay Augment that Storm which Love strives to allay. Heaven knows I go from hence with greater grief Condemn'd to Live, than now to lose my Life. [The Queen goes out. HOW great a Soul does this Asmonean show! Her generous Heart will rather break than bow, While I, who have Battles and Kingdoms won, [r t h a n : Act I, 11. 4, 6, 8, 148, 152, 156, 164, 166, 200, 235, 245, 263, 329, 337, 339, 389, 399, 4°5, 409, 433, 44°, 443, 477· I I , 11. 12, 40, 66, 70, 72, 78, 92, 9 4 , 1 2 6 , 1 2 8 , 1 9 0 , 203, 210, 259, 269, 276, 282,318,322. I I I , 11. 4 0 , 1 1 6 , 1 1 9 , 164, 174, 178, 234, 256, 274, 300, 335, 368, 398, 444. IV, 11. 40, 56, 74, 94, 96, 1 1 2 , 126, 178, 268, 307, 4 1 7 , 505, 558, 572. V, 11. 32, 62, 66, 68, 76, 82, 84, 92, 108, 128, 180, 190, 206, 210, 220, 224, 230, 234, 262, 264, 266, 274, 288, 3 1 2 , 3 3 1 , 3 3 4 , 3 6 4 , 4 5 6 , 460, 482, 545, 549, 576, 577, 602, 628, 639, 653.

Epilogue, 11. 8,12, 20. Act I : King sayes: (Fi, F 2 , King sayes; (1739, King says: 1. 7: prais'd (Fi,priz'd (Fi errala, F 2 ,1739, prais'd 9: Subject (Fi, F¡>, Subject (1739, Subjects 16: Frenchmen·-, (Fi, Frenchmans (Fi errala, F 2 , 1739, Frenchmens 24: Guesclin, . . . foes, (Fi, F 2 , Guesclin... foes (1739, Gmsclin, . . . foes, 31: wore, (Fi, F 2 , wore (1739, wore, 58, 62: Fi, F 2J 1739 omit quotation marks. 89: did Atidley (1739, did bold Audley 96: for him; (Fi, from him; (Fi errata, F 2 ,1739, for him; 103 : had made, (Fi, had rais'd, (Fi errata, F 2 ,1739, had made, 120: Royal (Fj, Regal (Fi errata, F 2 ,1739, Royal 137,142,145,148,151,154: (Fi, F 2 ,1739 omit quotation marks. 137: Since (Fi, F 2 , since (1739, Since 144: reply'd: (Fi, F 2 , reply'd; (1739, reply'd: 151: In

( F i , F 2 , in

153: subdue, 170: H e ,

180-1: 181: 197: 207:

(1739, I n

(Fi, F 2 , subdue;

(Fi, F2, H e

(1739, subdue,

(1739, H e ,

Lute; . . . sayes: (Fi, F 2 , Lute, . . . sayes; Ah, . . . Friend, (Fi, F 2 , Ah . . . Friend; pursue? (Fi, F 2 , pursue; (1739, pursue? be (Fi, F 2 ,be, (1739,be

217:0h,

(FI, F 2 , Oh

: Moving 227:0h,

229: self

(I739,Oh!

(FI, Mourning

(FI, F 2 , O h

(1739, Lute: . . . says; (1739, Ah, . . . Friend,

(FI errata, F 2 , 1739, Moving

(1739, O h !

(FI, F 2 , 1739, self,

862

T E X T U A L NOTES

I.238: 241: 243: 251: 253: 268: 274: 275:

f o r m e (Fi, f r o m m e (Fi errata, F 2 , 1 7 3 9 , for me Alas, (Fi, F 2 , Alas (1739, Alas! away! (Fi, F 2 , away, (1739, away! L o v e ; (Fi, F 2 , Love, (1739, L o v e ; men think (Fi, me think (Fi errata, F 2 , 1 7 3 9 , men think sacred Vows (Fi, secret Vows (Fj errata, F2, 1739, sacred Vows Loves, ( F i , F 2 , Loves (1739, Loves, Death should tell her Lover it (Fi, Love alone can tell her it (Fi errata, F 2 ,1739, Death should tell her Lover it. 279: 'Tis Lowe, (Fi,'Tis Love, (Fi errala, F2, 1739, 'Tis Lowe, 280: it to him (1739, it him 295: liv'd. (Fi, F 2j 1739, liv'd, 308: find; (Fi, F 2 , find, (1739, find: 309: Grief, . . . Mind, (Fi, F 2 , Grief . . . Mind (1739, Grief, . . . Mind, 3 1 1 : Love, . . . welcome, (Fi, F 2 , L o v e . . . welcome (1739, Love, . . . welcome, 346: Blame, ( F i , F 2 , Blame (1739, Blame, 349: cover'd, (Fi, F 2 , cover'd (1739, cover'd, 350: A h , ( F j . F z , 1739, A h 366: Ah, . . . go, (Fi, F;., A h . . . go (1739, A h ! . . . go, 367: least, . . . for, (Fi, F 2 ,1739, l e a s t . . . for 375-6: Fi, F 2 place " A l i z i a ' j Chamber" after "Enter the King," etc. 378: A h , (Fi, F·!, A h (1739, A h ! 381: Security? (Fi, F 2 , Security. (1739, Security? 382: A h , do not, (Fi, F2, A h do not (1739, A h ! do not, 384: detect; (Fi, F2, detect, (1739, detect; 385: degree, you know, (Fi, F 2 , degree you know (1739, degree, you know, 390: wrong, (Fi, F 2 , wrong (1739, wrong, 399: Love, m y blessing, turn m y Pain. (Fi, L o v e my Blessing turn to Pain. (Fi errata, F2, Love m y Blessing turn my Pain. (1739, Love, m y Blessing, turn m y Pain. 403: Since, . . . false, (Fi, F 2 , Since . . . false (1739, Since, . . . false, 416: A h , (Fi, F2, A h (1739, A h ! 420: great, (Fi, F2, great (1739, great, 426: Alas, (Fi, F 2 , Alas (1739, Alas! 446: Oh, . . . know, (Fi, F 2 , Oh . . . know (1739, Oh! . . . know, 449: told it (Fi, found it (Fi errata, F 2 , 1 7 3 9 , told it 451: cease, (Fi, F 2 , cease: (1739, cease, 459-60,463-4: Latimer (Fi, F 2 , 1 7 3 9 , Latymer 464: N o w , (Fi, F 2 , N o w (1739, Now, 465: Jealousie? (Fi, F 2 , Jealousie. (1739, Jealousy? 466: Madam, (Fi, F 2 , Madam (1739, Madam, 468: recourse? (Fi, recourse. (F 2 ,1739, recourse? 473 : owe it (Fi, own it (Fi errata, F 2 , 1 7 3 9 , owe it 485 : but l'le (Fi, but I (Fi errata, F 2 , 1 7 3 9 , but I'le 485-: 1739 places " The Curtain falls" before " The end of the first Act." : falls. ( F i , f a i s . (F¡¡, 1739¡falls. Act II : Latimer (Fi, F 2 , 1 7 3 9 , Latymer : appear;

(Fi, F 2 , appear,

(1739, appear.

T E X T U A L NOTES 1. 22: 27 : 43: 47: 48: 51: 64: 66: 67: 68: 82-3 : 83 : 84: 89: 90: 93: 94: 97: no: nr: 112: 121: 126: 127: 128: 129: 140: 144: 152:

156: 157: 163: 165: 173: 180: 181: 184: 191: 193: 198: 218: 219: 223: 226:

863

owe (Fi,ow (F 2 ,1739, owe late, I fear, (Fi, F 2 , late I fear (1739, late, I fear, Stay, . . . go, (Fi, F 2 , Stay . . . go (1739, Stay, . . . go, If, . . . present, (Fi, F 2 , I f . . . present (1739, If, . . . present, Ah, . . . absent, (Fi, F 2 , Ah . . . absent (1739, Ah! . . . absent, true, (Fi, F 2 , true (1739, true, think, though taught (Fi, think though thought (Fi errala, F2, think though taught (1739, think, tho' taught less; (Fi, F 2 , less (1739, less. Ah, (Fi, F 2 , A h (1739, A h ! me? (Fi, F 2 , me; (1739, me? Enter Plantagenet (Fi, F 2 , 1 7 3 9 omit "Enter." Pray, (Fi, F 2 , Pray (1739, Pray, Alas, (Fi, F 2 , Alas (1739, Alas! conceal; (Fi, F 2 , conceal, (1739, conceal; N a y , (Fi, F 2 , N a y (1739, N a y , Ah, (Fi, F 2 , A h (1739, Ah! undergo? (Fi, F 2 , undergo. (1739, undergo? condescend, (Fi, F 2 , condescend; (1739, condescend Alas, (Fi,F 2 , Alas (1739, Alas! Oh, (Fi, F 2 , Oh (1739, Oh! entertain? (Fi, F¡>, entertain. (1739, entertain? talk prolong, (Fi, task prolong, (Fi errata, talk prolong, (F 2 , 1739, Talk prolong, took? (Fi, F 2 , took. (1739, took? Ah, (Fi, Fü, A h (1739, Ah! Crown? (Fi, F 2 , Crown. (1739, Crown? Y o u did unworthy of your Fate appear, (1739, Supreme above your Fate you did appear, here, alas, (Fi, F 2 , here alas (1739, here, alas! impose? (Fi, F 2 , impose. (1739, impose? Then me by Friendship . . . ties; (Fi, Then by my Friendship . . . ties, (Fi errata, F 2 , Then me by Friendship . . . ties, (1739, Then me by Friendship . . . ties. does (1739, do Ah, (Fi, F 2 , A h (1739, A h ! Ah, (Fi, Fü, A h (1739, Ah, forme, (Fi, F 2 ,1739, forme Love, not Friendship, (Fi, F 2 , Love not Friendship (1739, Love, not Friendship, meet, (Fi, F 2 , meet: (1739, meet, rise: (Fi, F 2 ,1739, rise, too? (Fi, F 2 , too: (1739, too? is, (Fi, F 2 , is (1739, is, secures: (Fi, F 2 , secures, (1739, secures; Death. (Fi, Death, (F 2 ,1739, Death. Mind? (Fi, F 2 , Mind. (1739, Mind? A h , (Fi, F 2 , A h (1739, A h ! vain, alas, (Fi, F 2 , vain alas (1739, vain, alas! Friend, (Fi, F 2 , Friend (1739, Friend,

86 4

T E X T U A L NOTES

1. 230: m e ,

( F I , FA, m e

232: Confident, 233: are

(1739, m e ,

(FI, F 2 , Confident

( F I , F 2 , are;

(1739, Confident,

(1739, are

237: Go, my dear Guesclin, (Fi, F 2 , Go my dear Guesclin (1739, Go, my dear Guesclin, 238: Loves (Fi, F 2 , Loves (1739, Love 238-9: Enter the Prince (Fi, F 2 ,1739 omit "Enter" and read " T h e Prince." 243: A h ,

244: 256: 271: 274: 279: 288: 293:

( F I , FI!, A h

(1739, A h !

Heart? (Fi, F 2 , Heart; (1739, Heart? Cannot, alas, (Fi, F 2 , Cannot alas (1739, Cannot, alas! abuse; (Fi, F 2 , abuse, (1739, abuse: out-fac'd, (Fi, F 2 , out-fac'd. (1739, out-fac'd; Alas, (Fi, F 2 , Alas (1739, Alas! weare away (Fi, wast away (Fi errata, F 2 ,1739, weare away rate? (Fi, F 2 , rate, (1739, rate?

300: H e r ; 302: Y e s ,

(Fi, F2, Her, ( F i , F;!, Y e s

(1739, H e r ; (1739, Y e s ,

304: Be taught (Fi, Be thought (Fi errata, F 2 ,1739, Be taught 321: Reign; (Fi, F 2 , Reign, (1739, reign; 327: A h ,

( F I , F¡¡, A h

331: surpast, 333: A h , 340: her,

(1739, A h !

(Fi, F 2 , surpass,

(FI, F 2 , A h (Fi, F2, her

(1739, surpast,

(1739, A h ! (1739, her,

359: 363: 364: 367:

it, (FI, F 2 , it (1739, it, I betray, (Fi, F 2 , 1 betray (1739,1 betray, Love, (Fi, F 2 , Love (1739, Love, Dangers, . . . Bayes, (Fi, F¡>, Dangers . . . Bayes . . . Bays, 370-: Exit. (Fi, F 2 ,1739, Exeunt. Act III, 1. 7: Brother! (Fi, F 2 , Brother (1739, Brother! 10: Sir,

23 : 43: 58: 62: 68: 72: 74: 84: 99: 104: 108: 109: 115: 119:

(Fi, F 2 , Sir;

(1739, Dangers,

(1739, Sir,

Fortune, alas, (Fi, F 2 , Fortune alas (1739, Fortune, alas! once, . . . do, (Fi, F 2 , once . . . do (1739, once, . . . do, apprehend; (Fi, F 2 , apprehend, (1739, apprehend: before? (Fi, F 2 , before. (1739, before? News; (FI,F 2 , News, (1739, News. Kent; (Fi,F2, Kent, (1739, Kent. Fate! (FI,F 2 , Fate, (1739, Fate! contract. (Fi, F 2 , contract, (1739, contract; disclos'd; (Fi, F 2 , disclos'd, (1739, disclos'd. Love, (Fi, F 2 , Love (1739, Love, Love; (FI,F 2 , Love, (1739, Love. pretend, (Fi, F 2 , pretend (1739, pretend, Crime, (Fi, F 2 , Crime (1739, Crime, forgo, (Fi, F 2 , forgo (1739, forgo,

123: own, 125: him,

(Fi, F2, own (Fi, F2, him

127: Friend,

(1739, own, (1739, him,

(Fi, F 2 , Friend

137: Who, . . . prove,

(1739, Friend,

(Fi, F 2 , Who . . . prove

(1739, Who, . . . prove,

TEXTUAL 1. 143 : 144: 184-5: 187: 193 : 201: 207: 221: 235: 267: 270-1: 275: 276: 278: 281:

NOTES

865

love, spighi ( F i , l o v e i n s p i g h t (Fi errata, F 2 , 1 7 3 9 , love, spight T h o u g h t . (Fi, T h o u g h t , ( F 2 , 1 7 3 9 , T h o u g h t . Presenting (1739, Presents K i n g , I see, (FI,F 2 , K i n g I see (1739, K i n g , I see, y o u r Conquest (Fi, y o u Conquest ( F 2 , 1 7 3 9 , y o u r Conquest fright; (Fi, F 2 , fright, (1739, fright; Councellours (Fi, Chancellours (Fi errata, Councellors (F 2 , 1739, Counsellors run, (FI,F 2 , run (1739, run, those true Show'rs (1739, that true Show'r pretend, (Fi, pretend (F 2 ,pretend; (1739, pretend, L a t i m e r (Fi, F 2 , L a t y m e r (1739, L a t i m e r A h , (Fi, F 2 , A h (1739, A h ! Disdain, (Fi, F 2 , 1 7 3 9 , Disdain? him, (Fi, F 2 , 1739, him? design'd? (Fi, F 2 , 1 7 3 9 , design'd.

289: w i t h L o v e (Fi, m a y L o v e (Fi errata, F 2 , 1 7 3 9 , with L o v e 291 -.Latimer, (Fi, F 2 , Latymer, (1739, Latimer, 293: First, (Fi, F 2 , First (1739, First, 295: T h e n , (Fi, F 2 , T h e n (1739, T h e n , 296-7 : L a t . starts. (Fi, F 2 , L a t y . starts. (1739, L a t i m e r starts. 309: amiss, (Fi, amiss ( F 2 , 1 7 3 9 , amiss, 3 1 3 : y o u Intend (Fi, y o u Purpose (Fi errata, F 2 , 1739, y o u intend : Design? (Fi, F 2 , Design. (1739, Design? 314: Case, m y Lord, . . . mine, (Fi, F 2 , Case m y L o r d . . . mine (1739, Case, m y Lord, . . . mine: 3 1 7 : great, y o u see; (FI,F 2 , great y o u see (1739, great, y o u see; 330: and he (Fi, and she (Fi errata, F 2 , 1 7 3 9 , and he 339: Request, (Fi, F 2 , Request (1739, Request, 340: W h i c h , if deny'd, (Fi, F 2 , W h i c h if d e n y ' d (1739, W h i c h , if deny'd, 343: ask, (Fi, ask ( F 2 , 1 7 3 9 , ask, 358: M a n k i n d s . . . F a u l t ? (Fi, M a n d k i n d s . . . Fault. (F 2 , M a n k i n d s . . . Fault. (1739, M a n k i n d ' s . . . F a u l t ? 362: Reign. (Fi, F 2 , R e i g n ; (1739, reign. 3 6 6 : K e n t . (Fi, F;!, Kent; (1739, Kent. 369: to, (FI,F 2 , to (1738, to, 377: cruell'st I n j u r y (1739, cruel I n j u r y 380: y o u ; (Fi, F 2 , y o u , (1739, you. 383 : which does (Fi, with does ( F 2 , 1 7 3 9 , which does 389: implore, (Fi, F 2 , implore (1739, implore, 401 : has made, (Fi, F 2 , h a v e made (1739, has made, 407: A h , (Fi, F 2 , A h (1739, A h , 411: 416-7: 420: 429: : 430: 431 :

e n j o y n (Fi, e n j o y (Fi errata, F 2 , e n j o y n (1739, injoin L a t i m e r (Fi, F 2 , L a t y m e r (1739, Latimer N a t u r e , (Fi, N a t u r e (F 2 ,1739, Nature, A h , (Fi, F 2 , A h (1739, A h ! Great, (Fi, Great ( F 2 , 1 7 3 9 , great, Plantagenet; (Fi, F 2 , Plantagenet, (1739, Plantagenet: m y self m u s t (Fi, m y self I must (F 2 , 1739, myself must

866

TEXTUAL NOTES

1. 434: Loves Score 437: Ah,

(1739, Loves Scorn

(FI, F 2 , A h

(1739, A h !

445: bring; (FI, F 2 , bring, (1739, bring. 448: you; (FI,F 2 ,you, (1739,you: 454: this, Heav'n knows, (FI, F 2 , this Heav'n knows Heav'n knows, 458: Mine, (FI, Mine (F2, Mine, (1739, mine, 467: i t s

(FI, i t ' s

(1739, this,

(F2,1739, its

Latimer (FI, F 2 , Latymer (1739, Latimer What! (FI, What (1739, What! Latimer (FI, F 2 , Latymer (1739, Latimer Son? (FI,F 2 , Son. (1739, Son? lock the Garden-door. (FI, lock the Chamber-door. (FI errata, lock the Garden-dore (F2, lockt the Garden-door (1739, locks the Garden-door 29: King; (FI, FZ, King, (1739, King. 34-5: Latimer (FI, F 2 , Latymer (1739, Latimer

Act IV : 1. 2: 15: 24: 28-9:

36: o w e ;

48: 54: 60: 75: 86: 118: 119:

( F I , F 2 , owe,

(1739, o w e ;

Injury? (FI, F 2 , Injury. (1739, Injury? leave; (FI, F 2 , leave, (1739, Leave: beside, (FI, F 2 , beside (1739, beside, know? (FI, F 2 , know, (1739, know? you: (FI,you, (F 2 ,1739, you: Reveal, (FI, F 2 , Reveal? (1739, reveal? who (1739, whom

: blame? 120: a m ,

121: Rejoy ce; 123: Oh, 130: her.

(FI, F 2 ,1739, blame,

(FI, F 2 , a m ;

(1739, a m :

(FI, F 2 , Rejoyce,

(1739, rejoice;

(FI, F 2 , O h (1739, O h ! ( F I , F 2 , h e r ; (1739, her.

133: though Plantagenet (FI, to Plantagenet (FI errata, F 2 , 1739, though Plantagenet 138: deny'd. (FI, F 2 , deny'd; (1739, deny'd: 139 to 144 inclusive: (FI, F 2 assign these lines to King John. (1739 begins the Prince's speech at 1. 137, but the sense of 11. 137, 138 makes this arrangement incorrect. 155: repine; (FI, F 2 , repine, (1739, repine; 165: O h ,

(FI, F 2 , O h

172: Ah,

(FI, A h

(1739, O h !

166: bestows? (FI, F 2 , bestows. (1739, bestows? 167: Prince, . . . difficult, I see; (FI, F 2 , Prince . . . difficult I see, (1739, Prince! . . . difficult, I see; 170: Love or Nature (FI, Love and Nature (FI errata, F 2 , 1739, Love or Nature 175: 183: 197: 200:

(F2,1739, Ah!

Love, . . . Soul, (FI, F 2 , Love . . . Soul (1739, Love, . . . Soul, go there (FI, there go (FI errata, F 2 ,1739, go there does hope (FI, nor hope (FI errata, F 2 ,1739, does hope Is past the relish (FI, In part, the relish (FI errata, F 2 , 1739, Is past, the relish

209: A h ,

(FI, F;!, A h

(1739. A h !

TEXTUAL 1. 224-5: : 242: 247: 254-5: : 267 : 268: 277: 288: 291:

NOTES

867

Enter K i n g E d w a r d (Fi, F 2 , 1 7 3 9 omit "Enter. " L a t i m e r (Fi, F2, L a t y m e r (1739, L a t i m e r L o v e , . . . P o w ' r , (Fi, F 2 , L o v e . . . P o w ' r (1739, L o v e , . . . P o w ' r admit; (Fi, F 2 , admit, (1739, a d m i t : Fi, F 2 , 1739 place "The S C E N E , " etc., after "Enter," etc. Enter Plantagenet, Delaware, Cleorin. (FI, F 2 , Plantagenet, D e l a ware, Cleorin. (1739, Plantagenet, Delaware, and Cleorin. m y Heart (FI, m a y H e a r t ( F 2 , 1 7 3 9 , m y H e a r t Mines, (FI, F2, Mines (1739, Mines, does admit, (1739, do admit, it. (FI, F 2 , it, (1739· itA h , (FI, F 2 , A h (1739, A h !

293: Y o u r Sentence (Fi, Y o u Sentence (Fi errata, F2, 1739, Y o u r Sentence 294: should or Kill, or S a v e me quite. (Fi, should me Kill, or S a v e me quite. (Fi errata merely states, " r . or for me. " (F2,1739, should me Kill, or Save, or Quit. 297: T r y a l , . . . v a s t (Fi, F 2 , T r y a l . . . v a s t , (1739, Trial, . . . v a s t , 301 : Wales ( F i , F 2 , Wales. (1739, Wales 302: more; ( F i , F 2 , more, (1739, more: 303: store; (Fi, F 2 , store, (1739, Store; 305: hurl'd; (Fi, F 2 , hurl'd, (I739,hurl'd. 3 1 7 : L o v e ? (Fi, F 2 , L o v e . (1739, L o v e ? 322: receive; (Fi, receive (F 2 , receive, (1739, receive; 324: y o u (Fi, y o u , ( F 2 , 1 7 3 9 , y o u 340: 355: 356: 358: 359: 366: 369: 374: 375: 377: 379: 383:

397:

402 : 408: 418: : 421: 426: 429:

from him (Fi, f r o m y o u (Fi errata, F 2 , 1 7 3 9 , f r o m him A h , ( F I , F 2 , A h (1739, A h ! H a t e , (Fi, F 2 , H a t e (1739, H a t e : y o u , (Fi, F 2 , y o u (1739, y o u , Alas, (Fi, F 2 , A l a s (1739, A l a s ! Oh, (FI, F 2 , O h (1739, O h ! to his (1739, to this A h , (FI, F 2 , A h (1739, A h ! E y e s , (Fi, F2, E y e s ? (1739, E y e s , L o v e ? (Fi, F 2 , L o v e . (1739, L o v e ? now; (Fi, F 2 , now, (1739, n o w : Fire, once quench'd, more fiercely (Fi, Fire once quench'd more freely (Fi errata, F 2 , Fire once quench'd more fiercely (1739, Fire, once quench'd, more fiercely v a l u ' d not her Joyes (Fi, v a l u ' d others Joyes (Fi errata, v a l u ' d not her joyes (F 2 , v a l u e d not her Joys (1739, v a l u ' d not her Joys F a t e onely the Prince (1739, F a t e the Prince alone said; ( F I , F 2 , s a i d , (1739,said: go, (Fi, F 2 , go (1739, go, V o w (Fi, V o y c e (Fi errata, v o w ( F 2 , 1 7 3 9 , V o w your Happiness; (Fi, m y Happiness; (Fi errata, F 2 , 1739, your Happiness; reveal'd ( F i , r e v e a l d (F2,1739, reveal'd infuse; (Fi, F 2 , infuse, (1739, infuse:

868

TEXTUAL NOTES

I.432: Latimer 437 : are;

440: 441: 442: 453-4: 454: 458:

(Fx, F2, Latymer

(Fi, F 2 , are,

(1739, Latimer

(1739, are:

Crime, (Fi, F2, Crime (1739, Crime, them, (Fi, F2, them (1739, them, give, (Fi, FZ, give (1739, give, Plan, and Val. Bro. both rise (Fi, F 2 ,1739, They both rise King! (Fi, F,!, King, (1739, King! A noise within (1739 places after 1.459.

459: him;

(Fi, F 2 , him,

(1739, him;

461: Crime, (Fi, F2, Crime? (1739, Crime, 463: I pay: (1739,1 pray: 466: before, (Fi, before. (Fi, 1739, before; 471: Ah, (Fi, Ah (F 2 , Ah, (1739, Ah! 486: win, (Fi,F 2 , win (1739, win,

490: else, I'de 498: due

505: you? 507: Ah,

: 509: S10: 519-20: 524: 526: 532:

(Fi, else 'Ide

(FI,F 2 , due,

(Fi, Fi, you, (Fi, F:!, Ah

(F 2 ,1739, else, I'de

(1739, due

(1739, you? (1739, Ah!

Crime; (Fi, F2, Crime, (1739, Crime: and he (Fi, and her (Fi errata, F 2 ,1739, and he just, (Fi, F2, just (1739, just, amaz'd, (Fi, amaz'd (F 2 ,1739,amaz'd, that, (Fi, F¡>, that (1739, that, Vows? (Fi, Vows! (F 2 ,1739, Vows: Grief, what (FI,F 2 , Grief; What (1739, Grief, what

535: Go, 543: Oh,

(Fi, Fi·, Go (Fi, F 2 , Oh

(1739, Go, (1739, Oh!

545 : can say (Fi, can tell (Fi errata, F 2 ,1739, can say 548: seek out Death, (Fi, seek out Death (F2, seek her Death seek for Death 550: do,

(Fi, F 2 ,1739, do;

552: Dispair; 555: Oh,

(1739,

(Fi, F 2 , Dispair,

(Fi, F 2 , Oh

(1739, Despair.

(i739,Oh!

568-9: shreik (Fi, F2, skreik (1739, Shriek 569: Fatal Shreik (F t , F 2 , Fatal Skreik (1739, fatal Shriek 5 7 7 : night ! (Fi, F 2 , night, ( 1739, night ! 578: sight! (F,, F 2 , sight? (1739, Sight! 579: admit? (Fi, F2, admit, (1739, admit? 580: 'twere, (Fi, F 2 , 'twere (1739, 'twere, 581-2: Bed;

584: 587: 590: ActV :

(Fi, F 2 ,1739, Bed,

still. What Ho, (Fi, F 2 , still, what Ho, (1739, still. What! Ho! (To Court.) (Fi, Fi·, 1739 omit this direction. Pow'r? (Fi, F2, Pow'r. (1739, Pow'r? Latimer (Fi, F 2 , Latymer (1739, Latimer

1. 11: Oh,

(Fi, F 2 , Oh

21: move? 22: Oh,

(Fi, F 2 , Oh

39: Despair, alas, spair, alas! 41: Ah,

(1739, Oh!

(Fi, Fi!, move.

(Fi, Fi!, Ah

(1739, move?

(1739, Oh!

(Fi, Despair alas (1739, Ah!

(F2, Despair alas,

(1739, De-

T E X T U A L NOTES

869

1 . 4 3 : 1 , alas, (Fi,F 2 , I a l a s (1739,1, alas! 46: why, alas, (Fi, F2, why alas (1739, why, alas! 52: we successfull (Fi, we successless (Fi cTTdtdy F2, 1739, wc successfull s s : Ah, (Fi, F * A h ( i 7 3 9 , A h ! 68: less; (FI,F2, less, (1739, less. 77: Besides, (Fi, F2, Besides (1739, Besides, 83: Oh, (Fi, Fi, Oh (1739, Oh! 85: Consider, (Fi, F2, Consider (1739, Consider, 86: n o w — (FI,F2, now. (1739, now — 87 : that; 'tis (Fi, F2, that 'tis, (1739, that: 'tis 88: Yes, (F,, F 2 ,1739, Y e s 93: bring! (Fi, F2, bring, (1739, bring! 97-8: Studies awhile (1739 assigns this direction to Delaware. 98: subdue; (Fi, F 2 ,1739, subdue, 107: 108: 115: 119: 123: 125: 131: : 135: 144-5: 157: 159: 161 : 169: 182: 183:

Your Cure (Fi, Your Care (Fi errata, F 2 ,1739, Your Cure Ah, (Fi, F,!, A h (1739, A h ! alone; (Fi, F 2 , alone, (1739, alone: if Vertues Dictates you pursue, (1739, if Virtue dictates, you'll pursue, you now have said, (Fi, you have now said, (Fi errata, F 2 , 1739, you now have said, too long stray, (Fi, too long stay, (Fi errata, F 2 , 1739, too long stray, all th'Honour (Fi, all Honour (Fi errata, F 2 ,1739, all th' Honour ingross; (Fi, F2, ingross? (1739, ingross; Sin, not suffering, . . . fears; (Fi, F2, Sin not suffering . . . fears, (1739, Sin, not Suff'ring, . . . fears, Latimer (Fi, F2, Latymer (1739, Latimer Oh, (Fi, F2, Oh (1739, Oh! Eyes (Fi, E y e ; (Fi errata, F2, Eyes; (1739, Eyes true: (Fi, F 2 ,1739, true, Oh, no! (Fi, F2, Oh no, (1739, Oh! no: Love, (Fi, F2, Love (1739, Love, Ah, (Fi, F2, A h (1739, A h !

186: no Belief (Fi, no Relief (Fi errala, F 2 , 1 7 3 9 , no Belief 194: M y Lord, (Fi, M y Lord (F 2 ,1739, M y Lord, 194-5,198-9: Latimer. (Fi, F 2 , Latymer. (1739, Latimer. 195: free, (Fi,F 2 , free (1739, free, 199: (To Plan.) (Fi, F 2 , 1739 read "To Plantagenet." and place at the end of the line. : Madam, that King (Fi, That King Madam (Fi errata, Madam that King (F2, 1739, Madam, that King 216: what may (Fi, that may (Fi errata, F 2 ,1739, what may 219: Ah, (Fi, F 2 , A h (1739, Ah, 220: me? (Fi, me, (F2, me. (1739, me? 225: King, alas, (Fi, F2, King alas (1739, King, alas! 235: l e a n , (Fi, F 2 ,1 can (1739, l e a n , 238: it, (Fi, F2, it (1739, it, 245: Ah, (Fi, F2, A h (1739, A h !

870

T E X T U A L NOTES

1.249: Oh, (Γι, F 2 , Oh (1739, Oh, 253: most, (Fi, F 2j most (1739, most, 254-5 : Enter Plantagenet (Fi, F 2 , 1 7 3 9 omit "Enter. " 255:0h,

(Fi, F2, O h

(i739,Oh!

256:

Despair; (Fi, F 2 ,1739, Despair, 258: Guilty, . . . me; (Fi, F 2 , Guilty . . . me, (1739, Guilty, . . . me; 261: Alas, (Fi, F 2 , Alas (1739, Alas! 263: my love for you (Fi, my Ardent love (Fi errata, my love for you (F 2 ,1739, my Love for you 264: owne; (Fi, owne, (F 2 , own, (1739, own. 279: And, Madam, (Fi, A h Madam, (Fi errata, F 2 , And Madam, (1739, And, Madam, 281: ye spill, (1739, you spill, 285: A h ,

( F i , F·., A h

295: ' T i s , 298: S i n , 305:

( F i , F;!, S i n ;

(To Delà.)

309: A h , 317:

(Fi, F 2 , ' T i s

(1739, ' T i s , (1739, S i n ,

(Fi, F 2 , To Delaware.

(Fi, F 2 , A h

wither,

321: A h ,

(1739, A h !

(Fi, F 2 , wither

( F i , F·!, A h

(1739,

To Delaware.

(1739, A h ! (1739,

wither,

(1739, A h !

Ah, Madam, (Fi, A h Madam (F 2 , Ah, Madam, (1739, A h ! Madam, : Where, Madam, (Fi, F 2 , Where Madam (1739, Where, Madam,

335: 341

342: A h , . . . o w e ,

(Fi, F2, A h . . . owe;

(1739, A h ! . . . o w e ,

346: 347: 357: 373: 374:

Secret (Fi, Secret, (F 2 , 1739, Secret What justly (Fi, What Justice (Fi errata, F¡>, 1739, What justly her self (Fi, her sef, (F 2 , 1739, herself Stay, (Fi, Stay (F 2 ,1739, Stay, own your Pardon (Fi, F 2 , own your Pardon, (1739, owe your Pardon 381: Doubts (Fi, F;!, Doubts, (1739, Doubts 383: doe? (Fi, doe, (F 2 , do, (1739, do? 395: thought, (Fi, F 2 , thought (1739, Thought, 403: strove (Fi, F 2 , strove, (1739, strove 406: alone (Fi, F 2 , alone, (1739, alone : cure, (Fi, F 2 ,1739, cure; 416: Alas, (Fi, F 2 , Alas (1739, Alas! 421: Design (Fi, F 2 , Design, (1739, Design 433: Oh, you so nobly (Fi, F¡¡, Oh you so nobly, (1739, Oh! you so nobly 438: Despair (Fi, F 2 , Despair, (1739, despair, 441: obtain, (Fi, F 2 , obtain (1739, obtain, 446: Son? (Fi, Son; (F 2 , Son! (1739,80η? 447: Jealousy (1739, Jealousies 450: y o u ;

(Fi, F2, you,

(1739, y o u .

: Anger, (Fi, F 2 , Anger (1739, Anger, 452: Transport, (Fi, F 2 , Transport (1739, Transport, 451

4 5 5 : Sir,

457:

(Fi, Sir

you restore 458: you'l grant

( F 2 , 1 7 3 9 , Sir,

(FI,F2, 1739, you'd restore (1739, you grant

(Fi errata, you restore

TEXTUAL 1. 47g: 482: 497: 501: 509: 511: 515: 517: 518: 520: 525:

NOTES

871

sent; (Fi, F 2 , sent, (1739, sent: to D y e ; (Fi, F 2 , to D y e , (1739, to die: R e m e d y . (Fi, F 2 , R e m e d y ; (1739, R e m e d y : me, (Fi, F 2 , me (1739, me, (To L a t . ) (Fi, F·!, 1739 read " To L a t i m e r . " and place at the end of the line. False, (FI,F 2 , False (1739, false, m o v e ; (Fi, F 2 , move, (1739, m o v e : K i n g , (Fi, F·., K i n g ; (1739, K i n g , y o u ; (Fi, F 2 , you, (1739, y o u : just, (Fi, F 2 , just (1739, just, won; ( F i , F 2 , won, (1739, won?

526: B e d . There's no Excuse. (Fi, F 2 , B e d , there's no Excuse, (1739, B e d ; there's no Excuse. 528: Fi, F 2 , 1739 assign this line to Valeria's brother. : Shall not one moment stay t h y D e s t i n y ? (Fi, Shall (not one moment) stay t h y D e s t i n y . (F 2 , Shall not one moment stay t h y D e s t i n y . (1739, Shall not one M o m e n t s t a y thy D e s t i n y ? 531: were; ( F i , F 2 , w e r e , (1739, were: 537: B e d ? (Fi, F , , 1739, Bed. 538: declare? (Fi, F 2 , declare. (1739, declare? 544: e're ( F i , F 2 , ere (1739, e'er 547: 548: 549: 550:

551: 559: 561: 567: 568: 572: 574: 579: 580-1: 581: 583:

o'rethrow (Fi, ore'throw (F2, o'rethrow (1739, o'erthrow D e a t h , (FI,F 2 , D e a t h (1739, D e a t h , her. (Fi, F 2 , her, (1739, her. W h a t ! . . . aile? T h o u . . . pale. (Fi, W h a t . . . aile, thou . . . pale? (F 2 , W h a t . . . ail, thou . . . pale? (1739, W h a t . . . ail? thou . . . pale. o'r ( F i , ' o r (F 2 , o're (1739, o'er Sir, (Fi, F 2 , Sir; (1739, Sir, Y e s , Y e s , 'tis she; (Fi, Y e s Y e s 'tis she, (F 2 , Y e s , Y e s 'tis she, (1739, Y e s , yes, 'tis she. Air, (Fi, F 2 , A i r (173g, A i r ; Oh, (Fi, F 2 , Oh (1739, O h ! Joyne. (Fi, F 2 , Joyne, (1739, join. A s , (Fi, T í , A s (1739, A s , too; (Fi, Fi·, too, (1739, too. Speaks (Fi, speaks ( F 2 , 1 7 3 g , Speaks F a t e ; (FI,F 2 , F a t e , (173g, Fate. e're (FI,F 2 , ere (173g, e'er

: Storm. (Fi, F 2 , Storm, (173g, Storm: 584: bear? (F x , F 2 , bear, (173g, bear? 585: confine me (Fi, confirm me (Fi errata, F 2 , 173g, confine me 587: Friend. (Fi, F 2 , Friend, (173g, Friend. 5g3 : Y e t till (Fi, Y e t still (Fi errata, F 2 , 1 7 3 g , Y e t till ¡ D i s t r e s s , (Fi, F 2 , Distress; (173g, Distress, SgS : his Passion (1739, this Passion 603: A h , (Fi, F 2 , A h (1739, A h ! 624: Behold, . . . revive; (Fi, F 2 , Behold . . . revive, (1739, Behold, . . . revive:

872

T E X T U A L NOTES

1. 635: T o own my Fault (Fx, T o my own Fault (Fi errata, F 2 , 1739, T o own my Fault 650: Yield; (F,, F 2 , Yield, (1739, yield: 651: Friendship, (Fi, F 2 , Friendship (1739, Friendship; 652: owne; (Fi,owne, (F 2 , own, (1739,own; Epilogue: E P I L O G U E (Fi, P R O L O G U E , though some copies have letters E P I printed on slip of paper and pasted over P R O (F 2 , 1739, EPILOGUE 1. 15: you, . . . it, (F,, F 2 , you . . . it (1739, you, . . . it, 21: h i m , . . . Poet, (Fi, F¡¡, him . . . Poet (1739, h i m , . . . Poet, 5. T R Y P H O N TEXT

Tryphon was first printed in 1669 as the second part of a double folio with The Black Prince. This first edition (Fi) was followed by a second (F 2 ) in 1672, to which no further edition succeeded until the publication during 1739 of the collected works in octavo. Fi contains, after the text of Tryphon, extensive errala, while F 2 incorporates, with several exceptions, these corrections into its text. F 2 also varies slightly from Fi in punctuation, capitalization, spelling, and typography. The 1739 octavo is clearly based upon the text of F 2 and hence fails on several occasions to make emendations called for by Fi errata. On the other hand, the octavo text has been independently edited at a few points and contains readings not found elsewhere. Its punctuation, capitalization, spelling, and typography show a complete revision and alteration of the folio text. There are also available for textual study two manuscripts of Tryphon, both housed in the Bodleian Library. Fuller description of these may be found in the appendix. Suffice it to say here that neither contains author's corrections or playhouse notations; they are clear copies made simply for private circulation. Nevertheless, both manuscripts are of great importance to an Orrery editor. Ms. Malone 11 clearly represents the text of Tryphon in a fairly early state, for it includes in all twenty-six lines which were later cut from the play. These lines are distributed through the first four acts at six different points. Ms. Rawlinson poetica 39 bears what might be called an intermediate text, because its readings agree partly with those of Ms. Malone 11 and partly with those in the printed version. The two manuscripts afford interesting evidence that the text of Tryphon underwent considerable revision between its original composition and its publication in 1669. Fi indeed may represent the approximate text used in stage performance, since a prologue and epilogue, obviously not of the author's making, are attached. Whatever the source of Fj, however, its text contains a considerable number of lines which somehow have become garbled, perhaps in the printing, and which are more correctly preserved by the manuscripts. The latter also bring to light other erroneous variations of even greater interest, such as the misassignment of speeches in Fi and F 2 . Of most importance, however, is the recovery of a lost stage direction after 1. 517 of Act V, a direction which reveals Orrery's intention to utilize in the closing moments of the play what was at the time a very original piece of stage business. The present text of Tryphon, therefore, is based upon Fi and the errata therein, but incorporates as emendations those variant readings given in the manuscripts which good sense and taste commend as clear improvements over a

TEXTUAL NOTES

873

probably garbled printed text. One or two changes have been suggested by the 1 7 3 9 octavo. Though the spelling, the capitalization, and, in the main, the typographical arrangements follow Fi, some revision in punctuation has been rendered necessary by the extreme carelessness of Fi in this regard. The revisions are only such as proper ease in reading required, and have been kept at a minimum. All departures from the text of Fi are recorded in the notes along with the readings of all editions, or manuscripts, or both, as the case makes desirable. Verbal differences to be found either in the 1 7 3 9 edition or in the manuscripts have been fully set down in the notes, even when they have not been adopted for the present text. Thus the alterations of the Tryphon text before publication may be traced by any interested student. The page divisions of Fi are noted in square brackets on the margin to the right of the present text. NOTES

Prologue: Mss. Mai. 11, Rawl. poet. 3 9 omit the prologue. 1. 7 : wit, (Fi, F 2 ,1739, wit 1 0 : is, (Fi,F 2 , is ( 1 7 3 9 , 1 s , 1 4 : Yet, ( 1 7 3 9 , Yes, 1 7 : ere (Fi,F 2 ,e're ( 1 7 3 9 , ere 3 3 : lets (Fi, F2, let ( 1 7 3 9 , lets 3 8 : more, (Fi,F 2 , more ( 1 7 3 9 , more, 4 1 : What, (Fi, F;., What ( 1 7 3 9 , What, 52: ne're (Fi,F 2 , nere ( 1 7 3 9 , ne'er The Scene: All editions and mss. omit any statement of geographical setting. Fi then>than Act 1,11. 1 6 , 1 8 , 3 2 , 5 2 , 6 2 , 8 8 , 1 0 0 , 1 5 4 , 1 6 7 , 1 6 9 , 1 7 5 , 2 0 8 , 2 4 0 , 242, 262, 268, 302, 349, 356. II, 11. 4 , 1 0 , 2 3 , 7 9 , 9 1 , 1 0 1 , 1 0 9 , 1 1 5 , 2 0 0 , 2 0 2 , 2 0 9 , 2 1 1 , 2 2 7 , 239, 2 4 s , 249, 277, 348. III, 11. 4 6 , 8 8 , 9 8 , 1 0 0 , 1 1 2 , 1 1 4 , 1 4 9 , 1 5 0 , 1 5 3 , 1 5 8 , 1 7 0 , 2 0 3 , 2 6 0 , 2 7 6 , 306,324,334, 3S4, 370, 395, 435,447, 475, 487, 501, 519. IV, 11. 8 , 1 4 , 4 6 , 5 2 , 6 5 , 8 2 , 8 8 , 9 3 , 1 0 0 , 1 2 3 , 1 3 0 , 1 3 2 , 3 0 6 , 3 4 7 , 3 6 4 , 380, 382, 388,444, 450,452, 470, 472, 476. V, 11. 5 4 , 5 7 , 8 6 , 1 0 8 , 2 1 0 , 2 1 6 , 2 3 7 , 2 4 3 , 2 5 0 , 2 9 9 , 3 1 6 , 3 3 7 , 3 4 3 , 3 4 7 , 3 5 3 , 3 7 3 , 383, 395, 419, 443, 495, 586, 598, 634. Act I : Enter Demetrius (Fi, F 2 ,1739 omit "Enter." 1. 1 3 : too much deserves (Fi, almost deserves (Fi errata, F2, 1 7 3 9 , too much deserves 1 4 : a Subject's power (Mss. Mai. 11, Rawl. poet. 3 9 , his Subjects power 1 5 , 1 6 : (Ms. Mal. i l , All (my Demetrius) which you speake for h i m / Rather then lessen does augment his crime. 2 0 : Monster's wickedness (Fi, monstr'ous wickedness (Fi errata, F2, 1 7 3 9 , Monster's wickedness 2 1 : repents, (Fi, F 2 , repents ( 1 7 3 9 , repents, : (Ms. Mai. 11, Of his repentance nought should us persuade. 2 8 : It made (Fi, He made (Fi errata, F2, 1 7 3 9 , It made 3 1 : Usurpers guilt (Fi, Usurpers blood (Fi errata, F2, 1 7 3 9 , Usurpers guilt 3 2 : to arraign (Ms. Mai. 11, to depose

T E X T U A L NOTES

874

1. 35: they're (Fi,they'are (F 2 ,1739, they're 42: to spare (Fi, F 2 , 1739, to save (Mss. M a i . 11, Rawl. poet. 39, to spare 44: then preserve (Mss. Mai. 11, Rawl. poet. 39, then secure 47: 48: 51: 52: 56: 58: 60: 65: 66: 71: : 72: : 78 : 82 : : 83: 84: 88: 89: 91: 92: 96: 106: 109 : 113: 114-5: 125: 126: : 12 7 : 130,131 : 131: 140: 145: 146: 151: 160: 163 : 164:

fling, (Fi, Fü, fling. (1739, fling, the King (Mss. Mai. 11, Rawl. poet. 39, our K i n g much worse (Fi, much more (Fi errata, F 2 , 1 7 3 9 , much worse (Ms. Mal. r i , A punishment to merritt, then to beare I t layes (Fi, Even layes (Fi errata, F 2 , 1739, I t lays hope (Fi, F 2 , hope, (1739, hope me, he (Fi, F 2 , me he (1739, me, he (Mss. Mal. h , Rawl. poet. 39, B u t if m y patience bee esteemed m y crime (Ms. Mai. 11, M y Love to Syria causes it, not him (Ms. Rawl. poet. 39, 'Tis caused from love to Syria, not to him down, (Fi, F 2 , down (1739, down, (Ms. Mai. 11, Thus wee b y bloud casting one T y r a n t downe Blood (Fi, Tí, Blood, (1739, Blood (Ms. Mai. 11, Shall raise annother T y r a n t to the Crowne (Ms. Mai. 11, W h o kills the T y r a n t can deserve his Throne Kingdom, you'll (Fi, Kingdom will (Fi errata, F 2 , Kingdom you'll (1739, Kingdom, you'll (Ms. Mai. 11, Y o u ' l save your Country, & you'l gain ye Crowne Oh, my Aretus, (Fi, F 2 , Oh m y Aretus (1739, Oh! m y Aretus, (Ms. Mal. i l , Then m y ambition would but punish his (Ms. Rawl. poet. 39, T h e n 'twould be m y Ambition punisht his Murtherer. (Fi, F 2 , Murtherer, (1739, Murtherer. name, Aretus, (Fi, F 2 , name Aretus (1739, name, Aretus, A h , (Fi, F¡>, A h (1739, A h ! guilt? (Fi, F 2 , guilt: (1739, Guilt? Gods (Fi, F 2 , God's (1739, Gods he turn (Mss. Mai. 11, Rawl. poet. 39, he turns (Ms. Mai. 11, If only such hee does in it advance Seleucus, . . . Fear, (Fi, F 2 , Seleucus . . . Fear (1739, Seleucus, . . . Fear, Enter Tryphon (Fi, F 2 , 1 7 3 9 omit "Enter." Then whom he Rais'd (Ms. Mai. 11, M e whom hee rais'd the Father (Ms. Mai. 11, m y Father in the Throne (1739, on the Throne the Son (Ms. Mai. 11, his Son (Ms. Mai. 11, Since hee m y service punish't as a crime / W h a t might not his best Subjects feare from him fear? (Fi, F 2 , fear; (1739, fear? Then, (Fi, Then (F 2 ,1739, Then, A h , (Fi, A h (F 2 ,1739, A h , great, ( F i , F 2 , great (1739, great, Judge, Sir, (Fi, Judge Sir (F 2 , 1739, Judge, Sir, why, . . . high, (Fi, F 2 , why . . . high (1739, why, . . . high, Blood? (Fi, F 2 , Blood. (1739, Blood? Ah, (Fi, A h (F 2 , Ah, ( i 7 3 9 , A h !

TEXTUAL

NOTES

875

I.166: deaths (Fi, F 2 , 1739, death (Mss. Mai. 11, Rawl. poet. 39, deathes 167: Safetys (Fi, F 2 , Safety's (1739, Safties 169 : to act a wrong (Ms. Mai. 11, to do wrong 173: King; (Fi, King, (F2, King; (1739, King. 179: Line: (Fi, F 2 , Line, (1739, Line: 181: me, . . . Guilt. (Fi, F 2 , me . . . Guilt, (1739, me, . . . Guilt. 182, 183: (Ms. Mal. i l , Who by his Monarch's death his owne death shuns/ Does more assure it if he spares his Sonns 185: the grandchild (Ms. Mai. 11, the Grandsonn 186: (Ms. Mal. i l , A Child who was not then full two yeares old 187: (Ms. Mal. i l , What e're my foes of that Childes death have told 192 : many there may be (Ms. Mai. 11, many men there be 193: (Ms. Mal. i l , Would give you, Sir, ill Characters of me 197: Trust. (Fi, F 2 , Trust, (1739, Trust. 199 -.Nicanor, (Fi, F 2 , Nicanor (1739, Nicanor, 202: (Ms. Mal. i l , The Generalis place I now restore to you 206: (Mss. Mal. i l , Rawl. poet. 39, Gives you to punish me the power and will 206: Ms. Mal. i l contains, after 1. 206, these additional six lines to Tryphon's speech: Full Nineteen yeares in Tempests I have raign'd But now that I the wisht for calme have gain'd I'll lett them see by what I place in you In being quiet they'll bee happy too. This for soe long has been declin'd by mee Least what is choice, they might think pollicy. 207 : you now on me (Mss. Mai. 11, Rawl. poet. 39, on mee you now 209: But when my King did wrong me (Ms. Mai. 11, For when my King had wrong'd mee (Ms. Rawl. poet. 39, But when my King had wrong'd me 210: bear. (FI,F 2 , bear, (1739, bear. 212: now. (Fi, F·!, now, (1739, now. 214: my self accepting it. (Ms. Mai. 11, myself t'accept of itt. 215 : this Offer (Ms. Mai. 11, such an offer 220: there? (Fi, F 2 , there. (1739, there? 226: now. (Fi,F 2 , now, (1739, now. 233: (Mss. Mal. i l , Rawl. poet. 39, Seleucus too, whose worth deserves rewards 238: others scarce dare think (Ms. Mai. 11, others dare but think 239, 240: (Ms. Mal. i l , Those who their King doe flatter act a crime / More daingerous then fighting against him 240: (Ms. Rawl. poet. 39, Much worse, then they who against them have fought 246: Generous Reign (Ms. Mai. 11, vertuousraigne 250-1: (Fi, F 2 , Enter Cleopatra. Stratonice, Irene, and Hermione. / The S C E N E Nicanor'« Pallace. (1739, Enter Cleopatra, Stratonice, Irene and Hermione. / The SCENE, Nicanor's Palace. 258: Flame; (Fi, F 2 , Flame, (1739, Flame: 261: 'twill (Fi, F;!, twill (1739,'twill

876

T E X T U A L NOTES

1. 266: 272: 277: : 278: 281: 282:

down; (Fi,F 2 , down, (1739, down: Good; (Fi, F2, Good, (1739, Good: Ah, (Fi, F2, A h (1739, A h ! to whom the Gods allow (Ms. Mai. 11, on whom the Gods bestowe (Ms. Mal. i l , Repentance all waies give them pardon too bee. (Fi, bee, (F 2 , be, (1739, be: Their Sorrow is but their Hypocrisy (Fi, Their Sorrow is but their Hypocrisy (Fi errata, His sorrow is but his hypocrisy (F 2 , His Sorrow is but his Hipocrisie (1739, His Sorrow is but his Hypocrisy (Mss. Mal. i l , Rawl. poet. 39, His Sorrow is but his hipocrisy. 286: given? (Fi, F 2 , given. (1739, giv'n? 288: Heaven? (Fi, F 2 , Heaven. (1739, Heav'n? 290: there? (Fi, F 2 , there. (1739, there? 298: full satisfaction make (Ms. Mai. 11, doe satisfaction make 302: love; (Fi, F 2 , love, (1739, love. : (Mss. Mai. 11, Rawl. poet. 39, Hee more his Country, then his Sonn does love 303: what Tryphon e're (Fi, what 'ere Tryphon (Fi errata, F 2 , 1739, what Tryphon e're 303, 304: (Ms. Mal. i l , Syria, what e're Triphon henceforth shall doe / T o us his chaing, or her revenge, shall owe 305: Ah, . . . Love, . . . is, (Fi, F 2 , Ah . . . Love . . . is (1739, A h ! . . . Love, . . . is, 307: believe, (Fi, F 2 , believe (1739, believe, 313: Ah, (Fi, F 2 , A h (1739, A h ! 317 : so high (Ms. Mai. 11, soe vast 3 1 9 : 0 h , (Fi, F·!, Oh (1739, Oh! 321: mov'd; (Fi, F 2 , mov'd, (i739,mov'd: 322: (Ms. Mal. i l , For in that feare you'd seene how much he lov'd 330: me. (Fi, F 2 , me; (1739, me. 335: turn'd, (Fi, turnd, (F 2 ,1739, turn'd, 343: Crime, (Fi,F 2 , Crime (1739, Crime, 347: Pitty, (Fi, Pitty ( F 2 , P i t y (1739, Pity, 348: hate, (Fi, hate (F 2 , Hate (1739, Hate, 350: more; (Fi, F 2 , more, (1739, more. 353: Ah, (Fi, F¡¡, A h (1739, A h ! 356-: The End of the First Act. (Fi, F 2 , 1739 omit this direction. (Mss. Mal. i l , Rawl. poet. 39, The End of the First Act Act II : Enter Demetrius (Fi, F 2 ,1739 omit "Enter." 1. 4: Alas, (Fi, F 2 , Alas (1739, Alas! 8: Queen? (Fj, F 2 , Queen. (1739, Queen? 9: that I (Mss. Mai. 11, Rawl. poet. 39, as I 11: her? (Fi,F 2 , her (1739, her? 17: Alas, . . . me. (Fj, F 2 , Alas . . . me, 24: which shoot (Fi, F 2 , 1739, that shoot (Mss. Mai. 11, Rawl. poet. 39, which shoote 27: Flame; (Fi, F 2 , Flame, (1739, Flame: 29: Ah, (Fi, F;!, A h (1739, A h ! 30 : therefore you should (Mss. Mai. 11, Rawl. poet. 39, you therefore shall

T E X T U A L NOTES 1. 30: 32: : 38: 39: 42: 43: 46: 49: 52:

877

recall; (Fi, F 2 , recall, (1739, recall; Would you not (Mss. Mai. 11, Rawl. poet. 39, Would not you unwise, (Fi, F 2 , unwise (1739, unwise, gain'd (F,, gaind (F 2 ,1739, gain'd obtain'd; (Fi, F 2 , obtain'd, (1739, obtain'd. But, oh, (Fi, F2, B u t oh (1739, But, oh! lov'd. (Fi, F 2 , lov'd, (i739,lov'd. Ah, (Fi, F2, A h (1739, A h ! hind'red (Fi, F2, hindred (1739, hinder'd is't? (Fi, F2, is't (1739, is't?

62: might be (Fi, F 2 , 1739, may be (Mss. Mai. 11, Rawl. poet. 39, might bee 64: I'le (Fi, Ile (F 2 ,I'le (1739, I'll 67 : as proofs (Mss. Mai. 11, Rawl. poet. 39, for proofes 72: I'le (Fi, lie (F 2 , I'le (1739,1'U 73: fall, (Fi, Fü, fall (1739, fall, : (Ms. Mai. 11, If I fall in it, you have lost a Freind 74: Aretus, (Fi, F2, Aretus (1739, Aretus, 75: (Ms. Mal. h , Is there to cure you then noe other way (Ms. Rawl. poet. 39, And is there for your cure noe other way 76: breath; (Fi, breath, (F 2 , Breath, (1739, Breath: 77: Rival'd L o v e (1739, rival L o v e : Death? (Fi, F2, Death. (1739, Death? 78: his, (Fi,F 2 , his (1739, his, 79: worse than Death (Fi, twice a Death (Fi errata, F 2 , 1739, worse than Death : her. (Fi,F 2 , her, (1739, her. 80: backe? (Fi, backe (F2, back. (1739, back? 81: Stay, (Fi, Fü, Stay (1739, Stay, 85: I'le (Fi,'lie (F 2 ,I'le (x739, I'll 88: this? Y o u r s e l f (Fi, F 2 , this, your self (1739, this? Yourself 91: Hate. (Fi, F 2 , Hate, (1739, H a t e : 92: deny; (Fi, F 2 , d e n y , (1739, deny; 94: Alas, (Fi, F 2 , Alas (1739, Alas! 95: Sorrows (1739, Sorrow 96: you then Swear (1739, you but Swear (Mss. Mai. 11, Rawl. poet. 39, you now sweare 100: myself I cannot (Ms. Mai. 11, myself I scarce can (Ms. Rawl. poet. 3 9 , 1 scarce myself can : Trust. (Fi, F 2 , Trust, (1739, trust: 101 : (Ms. Mai. 11, For to bee happy I'le not bee unjust n o : H e a v e n , . . . submit. (Fi, F 2 , Heaven . . . submit (1739, Heav'n, . . . submit. h i : doe? (Fi,doe. (F 2 ,doe? (1739,do? 113: to no more (Fi, F 2 , too no more (1739, Mss. Mai. 11, Rawl. poet. 39, to no more 114: Freind? (Fi, F 2 , Freind. (1739, Friend? 1 1 5 : fit? (Fi, Fü, fit. (1739, fit? 116: it, (Fi, Fü, it? (1739, it, 118: you? (Fi,F 2 , you. (1739, you?

878

T E X T U A L NOTES

1. 119: will. (Fi, F 2 , will (1739, will. 121: great. (F 1 ; F 2 , great, (1739, great: 124: Nay, . . . (and . . . doe?) (Fi, F 2 , N a y . . . and . . . doe, (1739, Nay, . . . and . . . do? 127: did cause (Mss. Mai. 11, Rawl. poet. 39, does cause 134: ne're (Fi,ner'e (F 2 , ne're (1739, ne'er 135: me, (Fi, F 2 , m e (1739, me, : 'tis high time to D y e (Ms. Mai. 11,1'le desire to dye 135-6: Exeunt embracing. (Fi, F 2 , Ms. Rawl. poet. 39, Embracing him they goe out (1739, Embracing him, they go out (Ms. Mai. 11, Exeunt embracing : (Fi, Enter Nicanor, Stratonice, Irene. / The S C E N E Nicanor'j Pallace. (F 2 , The S C E N E , etc. / Enter Nicanor, etc. (1739, The S C E N E , Nicanor'î Palace. / Enter Nicanor, etc. 137: ask'd (Fi,F 2 , askd (1739, ask'd 140: not now (Fi, not well (Fi errata, F 2 , 1739, Mss. Mai. n , Rawl. poet. 39, not now 141 : Or her Unfaithfulness (Ms. Mai. 11, Her Infedillity 144: Tryphon, (Fi, F 2 , Tryphon (1739, Tryphon, 148, 149: (Ms. Mal. i l , She till too late nought of the business k n e w / And Sir does mourne for it as much as you 152: therein. (Fi, F 2 , therein, (1739, therein: 172: For that high Worth (Fi, F 2 , That Height'ned Worth (1739, That heighten'd Worth (Ms. Mai. 11, For that high Worth (Ms. Rawl. poet. 39, That high esteeme 176: way. (Fi,F 2 , way, (1739, W a y : 187-8: (Fi, F 2 , Enter Cleopatra, Hermione. / The S C E N E a Garden and a Grove of Trees. (1739, The S C E N E a Garden, and a Grove of Trees. / Enter Cleopatra, Hermione. 194: observ'd, alas, (Fi, F 2 , observ'd alas (1739, observ'd, alas! 203: husband, (Fi, F 2 , husband (1739, Husband, 205: leave? (Fi, F 2 , leave; (1739, leave? 212: given, (Fi, F 2 ,given (1739, giv'n, 220: 'tis (Fi, 'twas (Fi errala, F 2 ) 1739, Mss. Mai. 11, Rawl. poet. 39, 'tis 221: leads (Fi, F 2 ,1739, led (Mss. Mai. 11, Rawl. poet. 39, leads 222: not Aretus Arme (Fi, not your head and arm (Fi errata, not Aretus Arme (F 2 , not Aretus arm (1739, not Aretus' Arm 224: Ah, (Fi, F 2 , A h (1739, A h ! 230: Grief, alas, (Fi, F 2 , Grief alas (1739, Grief, alas! 234: lead, (Fi, lead. (F 2 ,1739, lead, 241: The valour (Mss. Mai. 11, Rawl. poet. 39, The courage 246: Country's (Fi, Contry's (F 2 ,1739, Country's 247: And, . . . worse, . . . Life? (Fi, F 2 , And . . . worse . . . Life. (1739, And, . . . worse, . . . Life? 251: Tryphon, (Fi, F 2 , Tryphon (1739, Tryphon, 264, 265: (Ms. Mal. i l , Oh to those sorrowes under which I bend / Add not the takeing from mee of a Freind 265: Friend; (Fi, F 2 , Friend, (1739, Friend; 268: A l a s , f o r m e ( F i , F 2 , A l a s f o r m e , (1739,Alas!forme

T E X T U A L NOTES 1. 269: 270: 271: 281 : 282: 283-4:

285: 287 : 307: 313 : 321:

879

your Mistrust (Mss. Mal. 11, Rawl. poet. 39, your distrust will I part (Mss. Mal. 11, Rawl. poet. 3 9 , 1 will part stay, (Fi, F 2 , stay (1739, stay, (Ms. Mai. 11, T o some shady part of yonder Grove (Ms. Mal. i l , A s when m y secret I to you committ (Ms. Rawl. poet. 39, A s when to you m y Secret I committ (Fi, Enter / Tryphon and Seleucus / The Scene Tryphon's Apartment. (F 2 , Enter Tryphon and Seleucus. / The S C E N E Tryphon's Apartment. (1739, The S C E N E , Tryphon's Apartment. / Enter Tryphon and Seleucus. this day (Mss. Mai. 11, Rawl. poet. 39, today (Ms. Mai. 11, A s if your hart b y sorrow were opprest preferr? (Fi, F 2 , preferr. (1739, prefer? Mistress, and (Fi, Mistress and, (F 2 ,1739, Mistress, and (Ms. Mal. I i , Will robb him of the rellish of the rest (Ms. Rawl.

poet. 39, Will Robb him of the Relish of the Rest 325: even m y Soul (Fi, F 2 , 1739, even m y Heart (Mss. Mai. 11, Rawl. poet. 39, even m y Soul 338: night, alas, (Fi, F2, night alas (1739, Night, alas! 339: has Conquered (Ms. Mai. 11, did Conquer 343: resolv'd, (Fi, F 2 ,1739, resolv'd 345: Bow? (Fi, F 2 , Bow; (1739, bow? 351: Liberty; (Fi, F2, Liberty, (1739, Liberty; 353: prove. (Fi, F2, prove, (1739, prove. 361: thy King (Fi, F 2 , 1 7 3 9 , Ms. Rawl. poet. 39, thy Prince (Ms. Mai. i l , thy K i n g 365: Y o u ask as if (1739, Y o u ask, Sir, as if 370: Grief . . . end; (Fi, F 2 , Grief, . . . end, (1739, Grief . . . end; 3 7 1 : 'Tis much (Fi, 'Tis sad (Fi errata, F 2 , 1739, Ms. Mai. 11, 'Tis much (Ms. Rawl. poet. 39, 'Tis sad 373: K i n g ; (Fi, F 2 , King, (1739, King. : (Mss. Mai. 11, Rawl. poet. 39, T o the high honour to forgive his K i n g 377: Fate, (Fi, F 2 , Fate (1739, Fate, 379: Love is the Cause, (Fi, Love is, the Cause (F 2 , 1739, L o v e is, Causes (Ms. Mai. 11, the cause is L o v e (Ms. Rawl. poet. 39, Love is the cause, 380 to 383 inclusive: All the published texts, as well as Ms. Rawl. poet. 39, omit these four lines. Their omission makes an uncalled for abruptness in Seleucus' speech as heretofore printed. These additional lines are derived from Ms. Mai. 11 and are printed with several slight changes in spelling and punctuation to conform to the text in general. Ms. Mai. 11 reads: Sure fate from Love soe long has kept him free T h a t you Sir b y experiment might see The matchless duty which hee payes to you Makes him performe as much as L o v e could doe. A c t I I I , 1. 14: Pain. (Fi, F 2 , Pain, (1739, Pain. 16: Love? (Fi, F 2 , Love. (1739, Love? 17: ask? ( F i , F 2 , ask (1739, ask? 21: Ah, . . . it. (Fi, F2, A h . . . it, (1739, A h ! . . . it.

88ο

T E X T U A L NOTES 1. 23 : still. 38: A h ,

(FL, FJ, still, (Fi, F2, A h

(1739, still: (1739, A h !

39: 41: 43: 44: 45: 50: 57: 58: 62 : 81: 82: 86:

and could (Mss. Mai. 11, Rawl. poet. 39, yet could leave, (FI,F 2 , leave (1739, leave, you name? (Fi, your name? (F 2 ,1739, you name? Flame. (Fi, F 2 , Flame, (1739, Flame. done, . . . doe; (Fi, F 2 , done . . . doe, (1739, done, . . . doe: Guilt. (Fi, Fs, Guilt, (1739, Guilt. Alas, (Fi, F 2 , Alas (1739, Alas! call, (Fi, F 2 , call (1739, call, (Ms. Mai. 11, That which I am asham'd myself to know known, (FI,F 2 , known (1739, known, Throne. (FI, F 2 , Throne? (1739, Throne. (Mss. Mai. 11, Rawl. poet. 39, Since you prefer your word above your flame 89: great Comfort to my Act (Fi, F 2 , great Pleasure, to my A c t . (1739, great Pleasure to my Act (Ms. Mai. 11, great comfort to that act (Ms. Rawl. poet. 39, great pleasure to that act

91: Ah,

( F i , F¡>, A h

(1739, A h !

99: fitter, (Fi, F 2 , fitter (1739, fitter, 100: Shame. (Fi, F 2 , Shame; (1739, Shame. 1 0 1 : ere

104: 106: 113: : 119: 120: 135: 136 : 138: :

(Fi, F2, e're

(1739, ere

me: (Fi,me, (F 2 ,1739, me: alas, (Fi, F 2 , alas (1739, alas! Rather, (Fi, F 2 , Rather (1739, Rather, (Mss. Mai. 11, Rawl. poet. 39, Rather could he have done what's more amiss For I (Fi, So I (Fi errata, F 2 ,1739, For I That, asking Nothing, (Fi, F 2 , That asking Nothing (1739, That, asking nothing, (Ms. Mal. i t , Y e t such the Love is which to him I pay That on (Ms. Mai. 11, As on it, Love (Fi, F 2 , it Love (1739, it, Love (Ms. Mai. 11, Even Love to break it shall not mee perswade

149: A h ,

(Fi, F2, A h

(1739, A h !

152: love, (Fi, F 2 , 1739, love 153: my Fame (Fi, F 2 , my Flame (1739, Mss. Mai. 11, Rawl. poet. 39, my Fame 156: Who dares not (Mss. Mai. 11, Rawl. poet. 39, Who does not 160-1: (Fi, Enter Demetrius and Seleucus. / The S C E N E Demetrius's Apartment. (F 2 , The S C E N E Demetrius Apartment. / Enter Demetrius and Seleucus. (1739, The S C E N E , Demetrius's Apartment. / Enter Demetrius and Seleucus. 161: which did betwixt us pass (Fi, Ms. Rawl. poet. 39, which between us did pass (Fi errata, F 2 ,1739, which did betwixt us pass (Ms. Mal. i l , which did twixt us two pass 162 : some Sadness (Ms. Mai. 11, some sorrow 164: (Ms. Mal. i l , Since nothing could be wellcomer to mee 169: (Ms. Mal. i l , T o court her to accept of half his Throne (Ms. Rawl. 39, T o court her to be consort to his Throne

T E X T U A L NOTES

881

1. 172: Seleucus starts. (Fi, F 2 omit this direction. (1739, Seleucus starts. 174: Alas, (Fi, F 2 , Alas (1739, Alas! 180: (Ms. Mal. h , M y services, and not words, should tell her it 182: such a Passion (1739, such Passion 183: start: (Fi, F2, start, (1739, start: 184: havepierc'd (Mss. Mai. 11, Raw], poet. 39, have charm'd 187 : such Satisfaction (Ms. Mai. 11, such contentment 189: Ah, (Fi, F2, A h (1739, A h ! 191: doe: (Fi,F 2 , doe, (1739, doe: 193: said, (Fi, F 2 , said (1739, said, 211 : (Ms. Mai. 11, A h to my hopes fate a new cross does send : o're (Fi,F 2 , ore (1739, o'er : send; (Fi,F 2 , send, (1739, send; 215: No, . . . both; (Fi, F2, N o . . . both, (1739, N o ; . . . both, 228: who should (1739, whom should 232-3: (Fi, Enter Nicanor, etc./ The S C E N E , etc. (F2, The S C E N E , etc./ Enter Nicanor, etc. (1739, The S C E N E , Nicanor's Palace. / Enter Nicanor, etc. 233: Sir, (Fi, Sir (F 2 ,1739, Sir, 241: hopes, (Fi, F2, hopes (1739, hopes, 243 : him, you know, (Fi, F 2 , him you know (1739, him, you know, 251: wish, . . . know, (Fi, wish . . . know (F 2 , wish, . . . know (1739, wish, . . . know, 256 : Y e t for (Fi, Y e t in (Fi errata, F 2 , 1 7 3 9 , Y e t for 269, 270: Ms. Rawl. poet. 39 omits these lines. 269: the State (Fi, F 2 , 1 7 3 9 , a State (Ms. Mai. 11, the State 270: B r a v e Hand (Fi, Brave M a n (Fi errata, Brave Hand (F 2 , Ms. Mai. 11, brave hand (1739, brave Hand 274: T'incite us (Fi, F 2 , 1739, T'invite us (Mss. Mai. 11, Rawl. poet. 39, T'incite us 290: not, (Fi, F 2 , not (1739, not, 299: Thoughts ( F i , T o u g h t s (F 2 ,1739, Thoughts 309: the Cries (Fi, the Crimes (Fi errata, F 2 , 1739, the Cries 313: prevail? (Fi, F 2 , prevail. (1739, prevail? 315: me? (Fi, F 2 , me. (1739, me? 316: his Design (Fi, F 2 , 1739, this Design (Mss. Mai. 11, Rawl. poet. 39, his designe : see; (Fi,F 2 , see, (1739, see; 320-1 : (Fi, F;!, Enter Tryphon, etc./ The S C E N E , etc. (1739, The S C E N E , Tryphon's Apartment. / Enter Tryphon, etc. 326: (Ms. Mal. i l , T h a t which I felt 'twixt Freindshipp, & 'twixt L o v e 327: have said (Fi, have done (Fi errata, F 2 , 1739, have said 330: (Ms. Mal. l i , A n ease, Sir, to th' afflictions of your mind 331: did. (Fi,F 2 , did, (1739, did: 334: heretofore. (Fi, F 2 , heretofore, (1739, heretofore: : (Mss. Mai. 11, Rawl. poet. 39, A Freind to him then I was heretofore 33 5 : for you (Mss. Mai. 11, Rawl. poet. 39, to you : is grown (Fi, F 2 , 1 7 3 9 , was grown (Mss. Mai. 11, Rawl. poet. 39, is growne

882

TEXTUAL

NOTES

1. 336: cannot (Fi, F 2 , 1739, could not (Mss. Mai. 11, Rawl. poet. 39, cannot 344: Only your help (Fi, Only your self (Fi errata, F 2 , 1739, Only your help (Mss. Mai. 11, Rawl. poet. 39, Your help alone 356: Ms. Mal. i l contains, after 1. 356, these two additional lines to Tryphon's speech: Not shee, nor I this feare should disapprove Since shee in it may cleerlier see my Love 359: submit, (Fi, F 2 , submit (1739, submit, 361: Ah, (Fi, F 2 , Ah (1739, Ah! 368: (Ms. Mal. i l , For since her Beauty with such charmes doe shine 371: the Friendship (Fi, F 2 , your Friendship (Fi errala, 1739, the Friendship 374: When or (Fi, When e'r (Fi errata, When or (F 2 , When e're (1739, Whene'er 375: blot; (Fi, Fa, blot, (1739, blot; 377: I know (Fi, F 2 , 1739, know 378: I'd (Fi, Id (F 2 ,Fde (1739, I'd 385: Ah, . . . more; (Fi, F 2 , Ah . . . more, (1739, A h ! . . . more; 387: despise; (Fi, F 2 , despise, (1739, despise. 388 : This, (F,, This (F 2 ,1739, This, 391: Oh, (Fi, F 2 ) Oh (1739, Oh! 392: Alas, (Fi, F 2 , Alas (1739, Alas! 406: Oh, (Fi, FZ, Oh (1739, Oh! 407: Love, not Reason, (Fi, F 2 , Love not Reason (1739, Love, not Reason, 421 : (Ms. Mai. 11, Does in the Offence carry the Pardon too 429-30: Seleucus Enters (1739, Enter Seleucus 437= Trust; (Fi, F 2 , Trust, (1739, Trust; 447: King? (Fi, F 2 , King. (1739, King? 453 : once Lov'd (Mss. Mai. 11, Rawl. poet. 39, once Loves 454: Inflame; (Fi, F 2 , Inflame, (1739, inflame: 459: paid? (Fi, F 2 , paid. (1739, paid? 462: Then (Fi, F 2 , Than (1739, Then 466: Secret's (Fi, F 2 , 1739, Ms. Mai. 11, Secrets (Ms. Rawl. poet. 39, Secret's 470: Ah, (Fi, F;!, Ah (1739, Ah! 478: No, (Fi, Pli, NO (1739, NO, 482:1t, (Fi, Fi!, it (1739, it, 483:1t, (Fi, F 2 , it (1739, it, 498: Ah, (Fi, F·!, Ah (1739, Ah! 500: Alas, (Fi, F 2 , Alas (1739, Alas! 501: Hate (Fi, F 2 , Height (1739, Hate (Mss. Mai. 11, Rawl. poet. 39, hate 503: Love, and Friends, (Fi, F 2 , Love and Friends (1739, Love, and Friends, 504: M y Faith (Fi, M y Faith (Fi errata, F 2 , 1739, M y Truth (Mss. Mal. i l , Rawl. poet. 39, M y faith : fear: (Fi,F 2 ,fear, (1739, fear: 511: Pain. (Fi,F2, Pain, (1739, Pain.

T E X T U A L NOTES

883

1. 513: makes me err; (Fi, made me err, (Fi errata, makes me err, (F 2 , made me erre, (1739, made me err: 518: her, yet Deserve her, (Fi, F 2 , her yet Deserve her (Fi errata, her and Deserve her (1739, her, yet deserve her, t I V : (Fi, Stratonice Demetrius and Irene. / The S C E N E Nicanors Pallace. (F 2 , The S C E N E Nicanor'* Pallace. / Stratonice, etc. (1739, The S C E N E , Nicanor's Palace. / Stratonice, Demetrius, and Irene. 1. 2 : are not (Fi, be not (Fi errata, F 2 , 1 7 3 9 , are not 3: see, ( F i , F 2 , see (1739, see, 7: Madam, (Fi, M a d a m (F 2 ,1739, Madam, 8: beare (Fi, fear (Fi errato, beare (F 2 , 1739, bear : more; (Fi, F 2 , more, (1739, more. 13: Alas, (Fi, F 2 , Alas (1739, Alas! 18: Ah, (Fi, F·!, A h (1739, A h , 22: twice you said (Fi, F 2 , twice you say (1739, twice, you say, (Mss. Mal. h , Rawl. poet. 39, twice you said 24: Fault; (Fi, F 2 , Fault, (1739, Fault: 31 : I, alas, (Fi, F 2 , 1 alas (1739,1, alas! 33 : T h a t is (Fi, This is (Fi errala, F 2 , 1 7 3 9 , T h a t is 35: Alas, (Fi, F 2 , Alas (1739, Alas! 38 : Ms. Mai. 11 contains these two additional lines between 11. 38 and 39 : And though to bee your Servant is I owne More then to raigne in the Universali Throne T h e y were no doubt omitted from the later texts of Tryphon to avoid any seeming irreverence! 51: 52: 53: 60: 61: 66: 68: 71: 79:

Alas, (Fi, F 2 , Alas (1739, Alas! too? ( F i , F 2 , too. (1739, too? Ah, (Fi, F 2 , A h (1739, A h , on me ( F i , o n y o u (F 1 errata, F 2 , 1 7 3 9 , on me he, (Fi, F 2 , 1 7 3 9 , he due; ( F i , F 2 , due, (1739, due: to lose (Ms. Mai. 11, to miss fit, (Fi, F·!, fit (1739, fit, Ms. Mal. i l contains these six additional lines, which open Demetrius' speech and precede 1. 79 : I could but hope your mercy might be wonn T o pardon what I b y Surprize have done. But, Madam, now you doe yourself outdoe Since you forgive mee, & reward mee too. Y o u bless mee with your Love spight of m y crime A n d seek out wayes to keep mee just to him.

80: dispence? (Fi, F 2 , dispence; (1739, dispense? 84, 85 : (Ms. Mai. 11, T h a t Love and vertue which in you raigne Doe both contribute to augment m y Paine. Ah, Madam, your Inconstancy and hate 84: Grief; ( F i , F 2 , Grief, (1739, Grief: 86: Fate; (Fi, F 2 , F a t e , (1739, Fate;

884

T E X T U A L NOTES 1. 88: Justice, (Fi, Fî, Justice (173g, Justice, 90: Despair, (Fi, F 2 ,1739, Despair?

92: Me? (Fi,F2, Me. (1739, me.

97: 98: 104: 106: 117:

him. Thus (Fi, F2, him, thus (1739, him. Thus be; (Fi, F 2 , be, (1739, be; you; ( F i , F 2 , y o u , (1739, you. to raise (Ms. Mai. 11, to place would deserve (Fi, F 2 , 1739, will deserve (Mss. Mai. 11, Rawl. poet. 39, would deserve 119: charge you (Fi, charge them (Fi errata, F 2 j 1739, charge you 121: Ah, (Fi,F 2 ,Ah (1739, A h ! 125: Love decline (Fi, Love Resign (Fi errata, F 2 , 1739, Mss. Mai. 11, Rawl. poet. 39, Love decline 127: Ah, (Fi, Fü, Ah (1739, A h ! 129: too clearly (Fi, 'twas clearly (Fi errata, F 2 , 1739, Mss. Mai. 11, Rawl. poet. 39, too clearly 130: the Losing (Mss. Mai. 11, Rawl. poet. 39, my Loosing 133 : (Ms. Mai. 11, If I even to your guilt soe kind doe prove 134: Ah, (Fi, F 2 , A h (1739, A h ! 136-7: go out, (Fl, go out. (F2, goe out (1739,goeout, 141: Fate; (Fi, F 2 , Fate, (1739, Fate; 143: Trust, (Fi, F 2 , Trust? (1739, trust, 144: Just? (Fi, F 2 , Just; (1739, just; 145: you of (Fi, Fs, you for (Fi errata, 1739, you of 146-7 : (Fi Cleopatra and Hermione, / Cleopatra holding Tryphon'j letter in her hand / The S C E N E the Garden of Nicanor'j Palace. (F 2 , Cleopatra and Hermione, / The S C E N E The Garden of Nicanor'« Pallace. / Cleopatra holding Tryphon's Letter in her hand (1739, The S C E N E , The Garden of Nicanor's Palace. / Cleopatra and Hermione. Cleopatra holding Tryphon'i Letter in her Hand. 149: thereby (Fi, F 2 ,1739, therein (Fi errata, thereby 158: Choice, (Fi, F 2 , Choice (1739, Choice, 162: Doom. (Fi, F 2 ,1739, Doom? 176: Love; (Fi, F 2 , Love, (1739, Love. 178: they, alas, (Fi, F 2 , they alas (1739, they, alas! 180: mine; (Fi, F a m i n e , (1739,mine; 182: as this, (Fi, F 2 , as this (1739, as this, 195: for you (Fi, F 2 ,'1739, to you (Fi errata, Mss. Mai. 11, Rawl. poet. 39, for you 196: had sat (Fi, F 2 , had sate (i739,hadsat 204: shall be (Fi, F 2 , 1739, should be (Mss. Mai. 11, Rawl. poet. 39, shall bee 207: Withstand (Fi, F 2 , Withstand, (1739, withstand 209: of a more sharp (Fi, F 2 , 1739, of such a (Fi errata, Mss. Mai. 11, Rawl. poet. 39, of a more sharp 210: Lost; (Fi, F 2 , Lost, (1739, lost; 213: Aretus, (Fi, F 2 , Aretus (1739, Aretus, 216: you to; (Fi, F 2 , you to, (1739, you to: 218: End. (Fi, F 2 , End, (1739, End. 222: lowest Price (Fi, F 2 ,1739, bravest Price (Fi errata, lowest Price

T E X T U A L NOTES

885

1. 228: command; (Fi, F 2 , command, ( 1 7 3 9 , command. 230: Oath and Friend (Fi, F 2 , Oath or Friend ( 1 7 3 9 , Mss. Mai. i i , Rawl. poet. 39, Oath and Friend 234: Ms. Mai. II contains these six additional lines between 11. 234 and 235 = But stay — why talke I thus? Since on my Frend The obtaineing of my Mistris does depend To mee hee cannot such injustice doe As to resist my Love, and glory too. To free me from my Vow hee'l think it fitt When hee but knowes how much depends on it. 240: Love and Fame (Fi, F2,1739, Love or Fame (Mss. Mai. 11, Rawl. poet. 39, Love and Fame 268: that love (Fi, F 2 , 1739, that same (Fi errata, that love 272: A c t :

(Fi, A c t ,

(F2, A c t :

(1739,act.

273: 'Twasfit (Ms. Mai. 11, 'Twas just 2 78 : (Ms. Mai. 11, Did you consult your reason as your love 279: A h ,

280: V o w ;

(FI, F 2 , A h

(1739, A h !

(FI,F2, Vow,

(1739, V o w :

287:

Alas, (Fi, F 2 , Alas ( 1 7 3 9 , Alas! 302 : (Ms. Mai. 11, As the desease is better then the cure 307: A h , (FI, FI!, A h (1739, A h ! 3 1 0 : World, (Fi, Tí, World ( 1 7 3 9 , World, 3 1 2 : yet, alas, (Fi, F 2 , yet alas ( 1 7 3 9 , yet,

alas! 325: for Syria (Fi, from Syria (Fi errata, F 2 ,1739, for Syria 328: is Sin (Mss. Mai. 11, Rawl. poet. 39, 'tis Sinn 3 3 8 : Country's (Fi, Contry's (F 2 , Countrey's ( 1 7 3 9 , Country's 3 4 0 : be Gods, (Fi, F 2 , be Gods ( 1 7 3 9 , be Gods, 3 4 1 -.Demetrius, (Fi, F2, Demetrius ( 1 7 3 9 , Demetrius, 353: You'll hate (Fi, You'll Curse (Fi errata, F 2 , 1739, Mss. Mai. 11, 372:

375: 376: 377:

382:

Rawl. poet. 39, You'll hate Wish, (Fi, F 2 , Wish ( 1 7 3 9 , wish, my Death (Fi, such Death (Fi errala, F 2 ) 1739, my Death Rage, not Friendship, (Fi, F 2 , Rage not Friendship ( 1 7 3 9 , Rage, not Friendship, We are Agreed; ( F I , F 2 , we are Agreed, ( 1 7 3 9 , We are agreed; Wounds worse (FI, Words worse (FI errata, F 2 , 1739, Wounds worse now, alas, (FI, F 2 , now alas ( 1 7 3 9 , now, alas!

393 : 394: A h , . . . d o e ; (FI, F 2 , A h . . . d o e , 4 0 5 : A s , if (FI, FI-, A S if ( 1 7 3 9 , A s , if 4 1 2 - 3 : (FI, Enter Tryphon and, N i c a n o r /

(1739, A h ! . . .

do.

The S C E N E Tryphons Pallace (F2, The S C E N E Tryphon'* Pallace. / Enter Tryphon and Nicanor. ( 1 7 3 9 , The S C E N E , Tryphon's Palace. ¡ Enter Tryphon ani Nicanor. 418 : (Ms. Mal. 11, When it is tyed by Love, & Freindshippe too 4 2 1 : Throne? (Fi, F 2 , Throne. ( 1 7 3 9 , Throne?

433 : N o ,

(F,, F2, N o

: Esteem it

(1739, N o ,

(Fi, Esteem her

(Fi errala, F2,1739, Esteem it

886

T E X T U A L NOTES

1. 434: 438: 444 : 444-5:

453: 454: 461: 462: 469: : 470: 478: 480: 482: 487: 490: 498: 504: 506: 512: 516: 517: 525: 527: 532: 533: 542: Act V

:

1. 4: 6: 8: 24: 25: 26: 27: 30: 32: 41 : : 49:

my D u t y (Ms. Mai. 11, my kindness Torments, (Fi, F2, Torments (1739, Torments, (Ms. Mai. 11, Then yeild to doe that which may merrit it (Fi, Enter Cleopatra and Seleucus. / The S C E N E Nicanors Pallace. (F 2 , The S C E N E Nicanor's Pallace. / Enter Cleopatra and Seleucus. (1739, The S C E N E , Nicanor's Palace. / Enter Cleopatra and Seleucus. itself does show (Fi, F 2 , does it self show (1739, Mss. Mai. 11, Rawl. poet. 39, itself does show L o w ; (Fi, F 2 , Low, (1739, Low: Makes me (1739, Make me my Heart (Fi, F 2 , 1739, my Greif (Mss. Mai. 11, Rawl. poet. 39, my hart Ah, (FI, F 2 , Ah (1739, A h ! him! Y o u (FI, F 2 , him, you (1739, him; you owe. (FI,F 2 , owe, (1739, owe: Live? (FI, F 2 , Live; (1739, live? shame, (FI,F 2 , shame (1739, Shame, his Throne (Mss. Mai. 11, Rawl. poet. 39, a Throne Ah, (FI, F 2 , Ah (1739, A h ! must act (Fi, must aske (Fi errata, F 2 ,1739, must act of, (Fi, F 2 ,of (1739, of. ev'n to an Excess (1739, even to Excess And, . . . say, (Fi, F 2 , And . . . say (1739, And . . . say, What! have (Fi, W h y have (Fi errata, F 2 , What have (1739, What! Have one: (FI,F 2 , one, (1739, one: two; (FI,F 2 , two, (1739, two; just Revenge (Fi, Best Revenge (Fj errata, F 2 | 1739, just Revenge Prodigy (Fx, F2, Prodogy (1739, Prodigy away; (Fi,F 2 ,away, (1739, away; more, (Fx, more (F 2 ,1739, more, The End of the Fourth Act (Fx, F 2 omit this direction. (1739, Mss. Mal. i l , Rawl. poet. 39, The End of the Fourth Act The Scene opens where is discovered Tryphon, etc. (Fx, F 2 , The Scene opens. / Tryphon, etc. (1739, The S C E N E opens. / T r y phon, etc. (Ms. Mai. 11, The Scene opens where is discover'd Triphon, etc. (Ms. Mal. 11, Has not been yet blest with the wisht success due, (Fi,F 2 , due. (1739, due; (Ms. Mai. 11, Since 'tis th'inspiration of your eyes Natures Law (Mss. Mai. 11, Rawl. poet. 39, Natures Lawes side, (Fi, F 2 , side (1739, side, you, (Fi, F 2 , you (1739, you, fall; (Fi, F 2 , fall, (1739, fall: (Ms. Mai. ι ι , Ι might have been Justly by you abhor'd If, after, (Fi, F 2 , If after (1739, If, after, would not (Mss. Mai. 11, Rawl. poet. 39, will not my Fame (Fx, my Name (Fx errata, F 2 ,1739, my Fame Ah, (Fi, F·!, A h (1739, A h !

T E X T U A L NOTES

887

1. 50: known mine (Fi, known it (Fi errata, F 2 ,1739, known mine 51,52: (Ms. Mal. χ ι , More sacred much then life that passion is, Tyrants may life command, but cannot this. 52 : may Life (Fi, may Love (Fi errata, F 2 ,1739, may Life 53: you said. T o me (Fi, F 2 , 1739, you said to me, (Mss. Mai. i i , Rawl. poet. 39, you sayd, to mee 54 : (Ms. Mai. 11, T o Learne your Sentence, then to endure your Love 60: th' Effects which (Ms. Mai. 11, that which 61: severe; (Fi, F2, severe, (1739, severe: 73 : (Ms. Mai. 11, I'm now convin't that you a Lover have 80 : value not that Love (Ms. Mai. 11, accept not of that Love 81: thy Resentments (1739, thy Resentment : move, (Fi,F 2 , move (1739, move, : (Ms. Mai. 11, Yes, Tyrant, that thy rage I more may move 92-3: (Fi, Enter Seleucus Alone. / The S C E N E is the Garden of Tryphons Pallace. (F2, The S C E N E is The Garden of Tryphon's Fallace. / Enter Seleucus alone. (1739, The S C E N E is the Garden of Tryphon's Palace. / Enter Seleucus, alone. 93: whither (Fi, F2, whether (1739, whither 96: me; (Fi, F2, me, (1739, me: 101 : Great Gods (Ms. Mai. 11, Oh Heavens : I prove (Fi, Ms. Mai. 1 1 , 1 grow (Fi errata, F 2 , 1739, Ms. Rawl. poet. 39,1 prove 102: Name, (Fi, F 2 ,1739, Name? 104: loss? (Fi, F 2 , loss. (1739, loss? 106: Revenge, (Fi, F 2 , Revenge (1739, Revenge, 1 1 1 : pursue; (Fi, F 2 , pursue, (1739, pursue; 113: I now feel (Fi, F 2 , 1739, now I feel (Mss. Mai. 11, Rawl. poet. 39, I now feel 117: Ah, . . . said, (Fi, F2, A h . . . said (1739, A h ! . . . said, 120 : (Ms. Mai. 11, That I admire her spirit as her eyes 134: As, . . . her, (Fx, F2, As . . . her (1739, As, . . . her, : miss Enjoying (Ms. Mai. 1 r, miss of haveing 136 : devide my Heart (Ms. Mai. 11, share both my hart 142: owe; (Fi,F 2 , owe 1739, owe. 149: we justly should repine (Fi, we both should most repine (Fi errata, F 2 ,1739, we justly should repine 151: thus? (Fi, F2, thus. (1739, thus? 153: invade! (Fj, F2, invade? (1739, invade! 154: betray'd! (Fi, F2, betray'd (1739, betray'd! 156: (Ms. Mai. II, 'Twas hee himself, Sir, which did tell it mee 158: C a n i (Fi, Should I (Fi errata, F 2 ,1739, Can I 163: could not (Fi, would not (Fi errata, F 2 ,1739, Mss. Mai. 11, Rawl. poet. 39, could not 165: Trouble's, . . . were, (Fi, F 2 , Trouble's . . . were (1739, Trouble's, . . . were, 166: Love; (Fi,F 2 , Love, (1739, Love; 168: A h , (Fi, Fi., A h (1739, A h ! 170: due. (Fi, due, (F 2 ,1739, due. 174: Pow'r, (Fi, F2, Pow'r (i739,Pow'r,

888 1. 176: 178: 180: 181: 188: 193: 199: 202: 205: 207:

T E X T U A L NOTES

sobase (Ms. Mal. 11, someane be; ( F i , F 2 , b e , (1739.be. vi'úh Aretus (FI, as Arelus (F¡ errata, F 2 ) 1739, with Ardus thee, (FI, F 2 , thee (1739, thee, to pluck down (Mss. Mai. 11, Rawl. poet. 39, to destroy Ah, (FI, F 2 , A h (1739, A h ! (Ms. Mal. i l , B u t if your life you to your Love doe tye doubt, (Fi, F2, doubt (1739, doubt, make her your Wife (1739, make her be your Wife t h o s e , . . . Queen, (Fi, F 2 , those . . . Queen (1739, those, . . . Queen, 209: if, . . . Wife, (Fi, FZ, if; . . . Wife (1739, if, . . . Wife, 211: Y e t since (Fi, F 2 , 1739, B u t since (Mss. Mai. 11, Rawl. poet. 39, Y e t since : her, (Fi, F 2 , her (1739, her, 214: feare, (Fi,F2, feare (1739, feare, 226-7: Enter Nicanor, Aretus, Demetrius with Cleopatra (Fi, F 2 , 1739, Nicanor, Aretus, Demetrius. Cleopatra 228: you; (Fi, F 2 , you, (1739, you. 236 : (Ms. Mai. 11, Than yeild that such a Tyrant thou shalt wedd 238: him, (Fi,F 2 , him (1739, him, 239: wipe; (Fi, F 2 , wipe, (1739, wipe: 241: alone (Fi,F 2 , along (1739, alone 242: that Debt (Fi, F 2 , 1739, Ms. Rawl. poet. 39, that Death (Ms. Mal. 11, that Debt 257: us, I hope, (Fi, F 2 , us I hope (1739, us, I hope, 260: 'Tis (Fi, F 2 , 'tis (1739,'Tis 276: dwell not (Fi, F 2 , dwels not (1739, Mss. Mai. 11, Rawl. poet. 39, dwell not 276-7 : open the doore·, (Fi, Ms. Rawl. poet. 39, open the doores, (F 2 , open thedoors, (1739, opens the Doors·, (Ms. Mai. 11, open the doore, : This whole stage direction in Fi, F 2 , 1739, and in the mss., is placed after 1. 278 and directly precedes the other directions there given. 278: u s , . . . Revenges, (Fi, F 2 , us . . . Revenges (1739, us, . . . Revenges, 278-9: Nicanor, . . . disarm'd; . . . retire; . . . out, . . . say es : (Fi, F 2 , Nicanor . . . disarm'd, . . . retire, . . . out.. . sayes. (1739, Nicanor, . . . disarm'd . . . retire . . . out, . . . says: 279: Pallace, Guards! If (Fi, F 2 , Pallace Guards, if (1739, Pallace, Guards; if 280:1t; (FI, F 2 , it, (1739, it. 283: aR·, Aretus, (F t , F 2 , all, Aretus (1739, all; Aretus, 305 : be, (Fi, F 2 , be (1739, be, 307: ere (Fi, e'r (F 2 ,e're (1739, ere 3 1 1 : Design, (Fi, F 2 , Design (1739, Design, 312: Love, (Fi, F 2 , Love (1739, Love, 316: Love? (FI, F 2J Love. (1739, Love? 319: Listned unto (1739, listen'd unto (Mss. Mai. 11, Rawl. poet. 39, listen'd now to 324: won (Fi, woon (F 2 ,1739, won

T E X T U A L NOTES

1. 330: 332: 334: 342:

889

e're (FL, F 2 , ere (1739, e'er sad Case (FI, sad loss (FI errata, 1739, sad Case (F 2 , sad case Oh Gods, (FI, F 2 , Oh Gods (1739, Oh Gods! (Mss. Mal. i l , Rawl. poet. 39, More greife in such revenge you had made me find 344: For where (Fi, For when (Fi errala, F 2 ,173g, For where 345 : the fowlest Staine (Ms. Mai. 11, the highest paine 347: o'recome (Fi,orecome (F2, o'recome (1739, o'ercome 350: Madam, (Fi, F 2 , Madam (1739, Madam, : (Ms. Mai. 11, Madam, 'twould have but more encreas'd my woe (Ms. Rawl. poet. 39, Madam, it would have more Increast my woe 356: Desert, . . . Despaire, (Fi, F 2 , Desert . . . Despaire (1739, Desert, . . . Despair, 357: there; (F 1; F 2 , there, (1739, there. 360: perhaps, though Late, (Fi, F 2 , perhaps though Late (1739, perhaps, tho' late, 363: acted, (Fi, F 2 , acted (1739, acted, 364: Ah, . . . Fault; (Fi, Ah . . . Fault, (F2, Ah, . . . Fault, (1739, A h ! . . . Fault: 366: Why, Madam, (Fi, F 2 , Why Madam (1739, Why, Madam, : (Ms. Mai. 11, Oh, Madam why should hee now rewarded bee 3 73 : (Ms. Mai. 11, Than should I yeild to bargaine for my love 376: Alass, (FI,F 2 , Alass (1739, Alas! 382: black, (FI, F 2 , black (1739, black, 385: Implore, (FI, F 2 , Implore. (1739, Implore, 387: Pray'rs, behold,. . . Tears; (FI, F 2 , Pray'rs behold . . . Tears, (1739, Pray'rs, behold, . . . Tears. 392:hasPow'r (1739, have Pow'r 396: trust; (Fi, F 2 , trust, (1739, trust; 397: Just. (Fi, Fs, Just; (1739, just. 398, 399: Fi, F,, 1739 include these two lines in the preceding speech of Seleucus, but Mss. Mai. 11, Rawl. poet. 39 assign them to Cleopatra. Their sentiment clearly points to Cleopatra as the proper speaker. 399: Vanish, (Fi, F 2 , Vanish (1739, vanish, 400: Now, brave Aretus, (Fi, F 2 , Now brave Aretus (1739, Now, brave Aretus, 404: Madam, . . . goe. (Fi, Madam . . . too, (F2, Madam . . . goe, (1739, Madam, . . . go: 405: Fi, F 2 , 1739 attach this line to the speech of Demetrius (1. 404), but Mss. Mal. l i , Rawl. poet. 39 assign it to Nicanor. The latter arrangement is patently the correct one. 415-6: (Fi, The SCENE is Tryphons Pallace. / Tryphon alone. (F 2 , The SCENE Tryphon'i Pallace. / Tryphon alone. (1739, The SCENE Tryphon'i Palace. / Tryphon alone. 424: Man, Areas, (FI, F 2 , Man Areas (1739, man, Areas, 426: Sir, (FI, Sir (F 2 ,1739, Sir, 430: kill! (FI, F 2 , kill? ( 1 7 3 9 , ™ : 431: (My h a s t . . . Breath,) (Fi, F 2 , M y h a s t . . . Breath, (1739, (My Haste . . . Breath) 436: Sir, (Fi, Sir (F 2 ,1739, Sir,

T E X T U A L NOTES

890

I.442: Crime; (Fi, F 2 , Crime, (1739, Crime: 449: they seem (Fi, you seem (Fi errata, F 2 ,1739, they seem 452: Sir,

(Fi, Sir

456: W h o ,

459: Go,

( F 2 , 1 7 3 9 , Sir,

(Fi, F¡>, W h o

( F i , F 2 , Go

(1739, Who,

(1739, Go,

460: aloud, "They Come". They come.

(Fi, F 2 , aloud they Come.

(1739, aloud,

464: Sir, (FI, Sir ( F 2 , 1 7 3 9 , Sir, 465: so, (FI, FI·, SO ( 1 7 3 9 , so,

470-1 :it,saith: 475: Ah,

(FI, F 2 , it saith,

(FI, F 2 , A h

(1739, it saith,

(1739, Ah,

476: at loosing (Fi, at leaving (Fi errata, F 2 , at loosing (1739, at losing 479-80: a stand, (FI, F 2 , a stand (1739, a Stand, 491 : wrong'd us, (FI, F 2 , wrong'd us (1739, wrong'd us, 492: Rejoyce; (FI, F 2 , Rejoyce, (1739, rejoice; 495: it, (FI, F;!, it (1739, it, 496: cry'd, "They come". (Fi, F 2 , cry'd they come. (1739, cry'd, They come. 500: shakes; Guard, (FI, shakes, Guard (F¡¡, shakes, Guard, (1739, shakes: Guard, 501-2: unbinds

504: 510: 511: 513-4: 515: 517-8:

526: 528:

(FI, F 2 , 1 7 3 9 , unbind

meet, (FI,F 2 , meet (1739, meet; wrong'd, (FI, wrong'd (F 2 ,1739, wrong'd, here; (FI,F 2 , here, (1739, here: Bodyes (FI, F 2 , 1739, Ms. Rawl. poet. 39, Body (Ms. Mai. 1 1 , bodyes gaze; (Fi,F 2 ,gaze, (1739,gaze. A Curtain is drawn before the dead Bodyes. (Fi, F 2 , 1739 omit this direction. (Ms. Mai. 11, A Curtaine is drawne afore the dead bodyes (Ms. Rawl. poet. 39, A Curtaine is drawne before Tryphon & Areas Seleucus, (FI, F 2 , Seleucus (1739, Seleucus, (to Nie.) (FI, F 2 , 1739 omit this direction.

537:1,

(FI, F·!, I

(i739,I,

538: place, (FI, F 2 , place (1739, Place, 543: Since,. . . Wrong'd you, (Fi, F¡¡, Since . . . Wrong'd you Since, . . . wrong'd you, 545: were; (FI,F 2 ,were, (1739, were: 546: Zeno's (FI,Leno's (FT errata, F 2 ,1739, Zeno's 551-2 -.reads: (FI, F 2 , reads. (1739, reads. 557: Oh,

(FI, FI!, O h

(1739, O h !

(1739,

558: is; (FI, F 2 ,is, (1739, is: 562: know. (FI, F 2 , know, (1739, know. 562-3: Sel. and Dem. consider the Letter (FI, F 2 , 1739 omit this direction. (Ms. Mal. i l , after 1. 563, They consider it (Ms. Rawl. poet. 39, after 1. 563, he considers it 563: writing. (Fi, F 2 , writing; (i739, Writing. : (Ms. Rawl. poet. 39, I t is the Princes hand 566: doe loose (Fi, doe gain (Fi errala, F 2 , doe loose (1739, dolose

TEXTUAL

NOTES

89I

1. 567: you me would (Fi, F 2 , 1739, you would me (Mss. Mai. 11, Rawl. poet. 39, you mee would 572: H o w t o b e j u s t (Ms. Mai. 11, How I might be just 574: I, . . . Love, (Fi, F j , I . . . Love (1739,1, · · · Love, 582 : both obleige (Fi, most obleige (Fi errata, F 2 , both obleige (1739, both oblige 584: due; (FI,F2, due, (1739, due; 586: a Captive . . . a King (Fi, their Captive . . . their King (Fi errata, a Captive . . . a King (F 2 , 1739, a Captive . . . their King 593: not, (Fi, F 2 , n o t (1739, not, 594 : That D u t y (F!, The D u t y (F! errata, F 2 ,1739, That D u t y 599: (ίο Nie.) (Fi, F2, 1739 omit this direction. 604: Sue; (FI,F2, Sue, (1739, sue: 606: Pardons (Mss. Mai. 11, Rawl. poet. 39, pardon 614: take; (Fi, F2, take, (1739, take; : you now will (Ms. Mai. 11, you'le 617, 618: (Ms. Mal. i l , Under that weight of yeares which now I s t a n d / 1 find myself unfitt for that command 625: just, (Fi,F 2 ,just_ (1739, just, : (Ms. Mai. 11, 'Tis just, since wee our lives to you doe owe 627, 628: (Ms. Mal. i l , These guifts (though vast) yet are esteem'd by mee / B u t as they proofes, Sir, of your favour bee. 630: you? (Fi, Fi!, you. (1739, you? 633 : W a y in which (Ms. Mai. 11, way which 636: Glorious day (Ms. Mai. 11, prosperous day Epilogue : (Mss. Mai. 11, Rawl. poet. 39 omit the epilogue. 1. 2: ere (Fi, F2, e'r (1739, ere 6. G U Z M A N TEXT

After the production of Guzman at Lincoln's Inn Fields in 1669 almost a quarter of a century elapsed before the play found its way into print. Finally in 1693 Guzman was published as a folio. The text of that folio possesses a peculiar significance for the student of the Restoration theatre, because it is one of the very few Restoration dramas printed from a playhouse copy containing prompt notes. Moreover, the Guzman text stands unique among all such preserved prompt copies in that it also includes specific notations as to the "scenes," old and new, which were actually utilized for the theatre performance. I t should be added, however, that the first act of the Guzman text shows no playhouse notes whatsoever. Possibly when the printing of the manuscript was begun, there existed an intention to delete every note of this kind. If so, the intention was abandoned after the first act. An unquestionable intention of that sort is observed, however, in the re-editing of the text for the 1739 octavo of Orrery's collected works, the only other edition of Guzman. The 1739 text has dropped all the playhouse notations concerning scenery, as well as many of the prompt directions. Moreover, in several speeches parts of sentences have been inadvertently omitted through the printer's oversight. Spelling, capitalization, and punctuation have been extensively altered. Obviously, this later edition is of slight value to an editor. The present text of Guzman, therefore, is based en-

892

T E X T U A L NOTES

tirely on the 1693 folio. The playhouse and prompt notes have been italicized and carefully set ofí in double parentheses, e.g. ((Bell ready)), in order to render them easily distinguishable from the stage directions proper. The folio, however, does not attempt to separate the two types of stage notes by any typographical distinction, nor does it always employ italics. In general, the typographical arrangements of the 1693 text have been followed except where confusing inconsistency occurs. Many emendations of the folio's punctuation have been made for clarity's sake, but these emendations have been kept at a minimum, while spelling and capitalization have been left almost entirely untouched. All departures from the 1693 edition, either in spelling, punctuation, or wording, appear in the following notes. Therein also are recorded all verbal differences between the 1739 octavo and the folio. The page divisions of the latter are printed in square brackets on the margin to the right of the present text.

NOTES

Dedicatory Epistle: (1739 omits this epistle. Dramatis Personae: (1739 changes the heading to " T H E P E R S O N S , " and omits all the descriptions of the various characters. : Fernando. (1693, Ferdinando. (1739, Fernando. : (1739 omits "Boy drest like a Spirit" and adds instead "Priest, Servants, Boys, &c." Scene : (1739 omits any statement of geographical setting. Act 1 , 1 . 8 : on: (1693,0η; (1739,0η: i6: rather, . . . lament, (1693,1739, rather . . . lament 17: them; (1693, them (1739, them; : Pitocco (1693,1739, Pirracco 24: Purses, (1693,1739, Purses; 35 : build; (1693,1739, build, 37: Piracco, (1693,1739, Pirracco, 59: Maxims, (1693, Maxims (1739, Maxim, 64: Rich; (1693,1739, Rich, 75: W h y ! (1693,1739, W h y : it; (1693,1t, (1739, it; 77 ff: 1739 assigns this speech to Francisco, an obvious slip. 77: now Guzman you have discharg'd, (1693, now Guzman, you have discharg'd (1739, now, Guzman, you have discharg'd, me, (1693,me (1739,me, ways (1693, ways (1739, way Woman (1693, Woman (1739, Women other (1693,others (1739,other Muffled (1693, Muffed (1739, Muffled What! . . . Piracco? (1693,1739, What . . . Pirracco? and, by Musaeus, (1693,1739, and by Musaeus sure I spoke (1693,1739, sure spoke 1693, 1739 print these lines as part of Guzman's speech, but their tenor, as well as Antonia's speech, prove clearly Francisco to be the speaker. 131-2: 1693 places this stage direction after 1.134, while 1739 prints it after 1.131.

83: 88: 89: 95: 100-1: 112: 124: 124,125: 128 ff:

T E X T U A L NOTES

893

1. 134: both? (1693,1739, both. 146: difference (1693,1739, difference, : Loves; (1693, Loves, (1739, Loves; 153: Woman? (1693,1739, Woman, 157 -.Hector·, (1693, Hector, (17 39, Hector·, 161: for't! (1693, for't, (1739, for't; 163: Mistress; (1693, Mistress, (1739, Mistress: 170: Heart? (1693, Heart. (1739, Heart? 174: Services, (1693, Services (1739, Services, 178: Piracco, (1693,1739,Pirracco, 181: Rivals; (1693, Rivals, (1739, Rivals; 182: Women? (1693, Women. (1739, Women? 183 : Pause a little. (1693, Pause a little (1739 omits. 195: to you? (1693, to you: (1739, to you? 203: Light, (1693,1739, Light 204: Poet! (1693,1739, Poet, 211: Match, (1693, Match (1739, Match, : 212: 223: 224: : : 229: 231: 247: 261 ff :

274: 277: 282: 288: 304-5: 305: 308: 321: 322: 328: 333-4:

Wit; (1693,1739, Wit, thee (1693, the (1739, thee ready? (1693, ready. (1739, ready? Assistance; (1693, Assistance, (1739, Assistance; beholding (1693, beholding (1739, beholden If, (1693, If (1739, If, Madrigal? (1693, Madrigal. (1739, Madrigal? Sonnets, (1693, Sonnets (1739, Sonnets, spent! (1693,1739, spent, Francisco, do thou stand under the Balcony, and look this way, and then, if I do not make a Stanza, (1739, Francisco, do not make a Stanza, Marry, (1693,1739, Marry Face; (1693,1739, Face, will, (1693, will (1739, will, me? (1693, me. (1739, me? Piracco, (1693,1739, Pirracco, Piracco, (1693,1739, Pirracco, makes! (1693,1739, makes, her? (1693, her. (1739, her? pretty; ' (1693,1739, pretty, as I have (1693, as I have (1739, that I have Piracco, (1693,1739, Pirracco,

336: 347-8: 352: 361: 368: 379: 381:

Odds; (1693, Odds, (1739, Odds; Piracco, (1693,1739, Pirracco. there? (1693, there. (1739, there? us? (1693, us; (1739, us? it. (1693,1t, (1739, itSword; (1693,1739, Sword, not why . . . it for (1693, not, W h y . . . it? for (1739, not: W h y . . . it? for 393-4: Guiv. and Fran., etc. (1739 places these stage directions after 1. 391·

894

TEXTUAL

NOTES

1. 396: Word! (1693,1739, Word; : Quarrel, (1693,1739, Quarrel 3 9 7 : Sir;

(1693, Sir,

(1739, Sir;

403: self; (1693,1739, self, 408-9: he claps

420: Courage, 422: n o w ,

(1693, he ilaps

(1739, he clafiß

(1693,1739, Courage

(1693, n o w

(1739, n o w ,

423: Vulcan, (1693,1739, Vulcan 425: head, (1693,1739,head 429: N o ,

(1693, N o .

(1739, N o

433: Well, (1693, Well (1739, Well, 435: Purse, and Exchange, you know, (1693, Purse, and Exchange, you know, (1739, Purse; an Exchange you know 439, 440: Your Servant, Sir; away, Friend! (1693, Your Servant Sir, away Friend. (1739, Your Servant, Sir, away Friend, 447: t h e e ,

(1693, t h e

457: W h y ,

(1693, W h y

448: : 449: 450:

(1739, thee,

Fusée-, (1693,1739, Fusée, Cock'd; (1693,1739, Cock'd, Blunderbuss, (1693, Blunderbuss. (1739, Blunderbuss, hand, (1693, hand (1739, Hand

459: were, by Proserpin, Proserpine 470: yes,

471: Pluto,

(1693, y e s

474: m e ; I ' l e

(1739, W h y ,

(1693, were; by Proserpin

(1739, were; by

(1739, yes,

(1693,1739, Pluto (1693, m e , l i e

(1739, m e , I ' l l

Act II: (1693, The Scene with the Chimny in it. / Enter Guzman and Francisco. (with a Paper. (1739, Enter Guzman and Francisco, with a Paper. I.2-3: ((Two ready.)) (1739 omits. 4-5: ((Knocking prepar'd.)) (1739 omits. 5: Art might, (1693, Art, might (1739, Art might, 17-8: Door·, (1693,1739,Door, 27: other, (1693,1739, other 27-8: Guzm. seems, etc. (1693 places this direction opposite 11. 31-33. (1739 places after 1. 30. 28: Two MEN (without) (1693 confuses this stage direction with a speech and therefore interpolates between 1. 27 and 1. 28 an unintended line of dialogue which reads "Guiv. Two without say . . ." Then 1. 28 begins a new speech, reading "Two. Well Sir," etc. (1739 omits this erroneous speech and in the speaker's position before 1. 28 prints " Two speak without." : Well, (1693, Well (1739, Well, 46: consider; (1693, consider, (1739, consider; 63: N a y ,

(1693, N a y

(1739, N a y ,

80: H o w , 82: N a y ,

(1693, H o w (1693, N a y

(1739, H o w , (1739, N a y ,

73: them

(1693,1739, them,

88-9: ((Guzman ready.)) (1693, Guzman's ready. (1739 omits. 96: (1693,1739 read " I come, I come; away, away."

T E X T U A L NOTES

895

I.96-7: {{A Table and Two Swords.)) (1739 omits. : (1693, Enter Oviedo to Piracco in his Chamber. (A flat Scene of a Chamber. (1739, Enter Oviedo to Piracco in his Chamber. 101: retreat, (1639, retreat (1739, retreat, 130,131 : (1693 mistakenly assigns these lines to be spoken by "Leon. Pastr. Ant.," an obvious absurdity which was occasioned, no doubt, by a prompter's note at this point, wherein the three names were set down. Hence the present text preserves the three names in the form of a prompter's note after 1. 131. (1739 omits the names entirely and correctly places 11. 130, 131 with the speech of Oviedo. 139: Tituan (1739, Tetuan 151-2: (1693, Enter Leonora, Pastrana and Antonia. {The Q. of Hungary's Chamber. (1739, Enter Leonora, Pastrana and Antonia. 158: Me, (1693, Me (1739, Me, 163: Death, (1693,1739, Death 171: ere (1693,1739, e'er 174-5: ((Maria, Lucia, Sal., Fern.)) (1739 omits. 185: ere (1693,1739, e'er 187: Come, (1693, Come (1739, Come, 188-9: {{A Little Bell ready.)) (1739 omits. : ((Guzm. ready.)) (1693 mistakes this prompter's note for a line of dialogue and prints "Guzm. Ready." (1739 omits. : ({The new Black Scene.)) (1739 omits. : {{Flashes of Fire ready.)) (1739 omits. : {(Tripos.)) (1739 omits. 194-5: ((Bell Rings here)) (1739, Bell rings. 195-6: One runs, etc. (1693 places this direction opposite 1. 197 ff. (1739 prints it after 1.195. 199: 'slid, (1693,1739, 'slid 202-3 : ((When Fran, rises, flashes of Fire)) (1739 omits. : Francisco rises, etc. (1693 places this direction after 1. 203. (1739 prints it after 1. 202. : falls over, Crying (1739, falls over. 229, 230: as . . . quake. (1693,1739, As . . . quake. 250: I'de (1693, Ide (1739, I'd 252: worse, (1693, worse (1739, worse, 259: Yes, Sir, (1693, Yes Sir (1739, Yes, Sir, 260: ere (1693,1739, e'er 267: Why, (1693, W h y (1739, Why, : me (1693, me; (1739, me, 293-4: Foot·, (1693,1739,Foot, 298: No, (1693, No (1739, No, 302: pray, (1693,1739, pray 307-8: Breast·, (1693, Breast, (1739, Breast. : they all Cry. (1739 omits. 317: you, (1693,you (1739,you, 320: now? (1693, now. (1739, now? 324: Jaw-quake; (1693,1739, Jaw-quake, 325: But, (1693,1739, But

896

TEXTUAL NOTES

1· 3 3 7 : Come, (1693, Come 346: Or (1693,1739, or 349: Come, (1693, Come

: 351: 359: 368: 369: 372: Act I I I : : : 1.8:

(1739, Come, (1739, Come,

doubt; (1693,1739, doubt, Shot-free; pray, (1693, Shot-free, pray (1739, Shot-free; pray you? That (1693,1739, you; that Owedos (1693,1739, Omedo's Piraccos (1693,1739, Piracco's, Fool'd, (1693,1739, Fool'd; {{A little Bell ready. Flashes of Fire ready.)) (1739 omits. Enter Alcanzar, etc. (1693,1739, Alcanzar, etc. ((Leonora, Ant. Pastra. Jul.)) (1739 omits. Virgin e'er declar'd (1739, Virgin declar'd

21-2: Julia 32: B u t ,

(all (1693, Julia. (1693,1739, B u t

[All

(1739, Julia, all

33: Julia·, (1693,1739, Julia, 37 : (Kneeling) (1739 prints this direction as if part of Julia's speech. 40: sakes,

(1693, sakes

(1739, sakes,

43-4 -.thrice·, (1693,1739, thrice, 56-7: Jul.,

60: 63: 80: 89-90:

(1693,1739, Jul.

Hold, (1693,1739, Hold Hand) (1693,1739,Hand, which, (1693,1739, which ((Trampling.)) (1739 omits.

96: you, (1693,1739, y o u h i : ones. (1693, ones; (1739, ones:

113-4: ((A Purse.)) 128: H a ! ' s l i d ,

(1739 omits.

(1693, H a d ' s l i d ,

133-4: ((Boyready.))

(1739 omits.

(1739, ad'slid,

138-9: ((Nonehere.)) (1739omits. 1 4 1 - 2 : Lucia (1693,1739, Lucia,

152: see Conjurers, (1693,1739, see, Conjurers 163: Well, (1693,1739, Well

169: H u s b a n d , (1693, H u s b a n d 169-70: says: (1639,1739,says,

193: Truly,

198-9: Wan;.

(1739, H u s b a n d ,

(1693,1739, Truly

. . Leon., Ant., and P a s t r a n a , says:

(1693, 1739, W a n , . . .

Leon. Anton, and Pastrana, says, : and looking to Leon., says: (1693, and looking to Leon, says, omits. 208: t o b e

210: 210-1: 215: 224: 226: 229-30: 233 : 235: 239-40:

(1693, to de

(1739, t o b e

speak, (1693,1739,speak ((Maria, Lucia ready.)) (1739 omits. think, (1693,1739, think Well, (1693,1739, Well pleas'd, (1693,1739, pleas'd ((Guzman.)) (1739 omits. only, (1693,1739, only Come, (1693,1739, Come ((Servant.)) (1739 omits.

(1739

TEXTUAL NOTES

897

I.249: farewell, (1693,1739, farewell 253-4: (1693, Enter Guzman. Solus. (A Flat Scene of a Chamber. (1739, Enter Guzman Solus. 265: Oviedos . . . Piraccos (1693,1739, Oviedo's . . . Piracco's 265-6: {{Two Letters)) (1739 omits. 266: Business, (1693, Business (1739, Business, 270: ere (1693, e'er (1739, ere 276: me, I confess, (1693, me I confess (1739, me, I confess, 277: ere (1693,1739, e'er 316-7: ((Sal., Fern., Maria, and Luc.)) (1693, Sala. Fern. Maria and Luc. (1739 omits. 3 20 : Field, ( 1693,1739, Field 322: first). (1693,1739, first) : Fate, (1693,1739, Fate; 336-7 -.Piazza. (1693, Piazzo. (1739, Piazza. : {{The new flat Scene.)) (1739 omits. 347: Sister, (1693,1739, Sister; 351 : Why, (1693,1739, Why 362: again, (1693,1739, again; 372-3: ((Ovied., Pir.)) (1693,Ovie.Pirac. (1739 omits. 374: Marriage; our (1693, Marriage, our (1739, Marriage; our 386-7 : ((Guzm. and Fran, ready)) (1739 omits. 387: before? (1693,before. (1739,before? 387-8: Oviedo and Piracco, etc. (1693 places this direction opposite 11. 391,392. (1739 places it after 1. 392. -.pass (1693,1739, passing 391: Nephews; (1693,1739, Nephews, 393: they. (1693,1739, they, 395-6: Sal. and Fern., etc. (1693 places this direction after 1. 397. (1739 places it after 1. 396. : Salaz, and Fern, go out (1693,1739, They go out 407-8: {{TheForest.)) (1739 omits. 410: Barbarossa, (1693,1739,Barbarossa·, 427: me; (1693, me, (1739, me; 443~4: {{Trampling ready.)) (1739 omits. 447: 'Death, (1693,1739,'Death 451-2: {{Messenger)) (1739 omits. 469: 'em, (1693,1739, 'em 471: Pistol; (1693,1739, Pistol, 479: Francisco (1693, Francisco, (1739, Francisco 484: it. What (1693,1739, it; what 488,489: Disaster: (1693, Diaster: (1739, Disaster: 493: him, (1693,1739, him; 506-7: {{Call Mar. Lucia.)) (1739 omits. 511: why, (1693,1739, why 519: ere (1693,1739, e'er 520: him, (1693,1739, him; 521: ere (1693,1739, e'er 524: be so suspicious (1739, be suspicious 530: Limbs, (1693, Limbs (1739, Limbs,

898 1. 530: 534: : Act I V : 1. 4-5: 12: 16: 27-8: 43: 57: 59: 61: 66: 70: 80: 85: 86: 87: 102: 108: 112: 115: 119: 121: 123: 128: 133: 136: 145: 146: 147: 152: 154-5: 162-3:

T E X T U A L NOTES ere (1693,1739, e'er ere (1693, 1739, e'er Vulcan, (1693, 1739, Vulcan {{The New Flat Scene.)) (1739 omits. ((Ovied., Pastr., Pir., Ant., Jul.)) (1693, One. Pastra. Pir. Jul. (1739 omits. Years, (1693,1739, Years; one, (1693,1739, one; {{Q. ^/Hungary's Chamber.)) (1739 omits. Jealous, (1693, Jealous (1739, jealous, Methinks, (1693,1739, Methinks you, (1693,1739, you Man, (1693,1739, Man Duel, Sir! (1693, Duel Sir, (1739, Duel, Sir! you, (1693,1739, you are you (1693, are your (1739, are you you, (1693,you (1739,you, Y o u , (1693,1739, Y o u say, (1693,1739,say But, (1693,1739, But Methinks, (1693,1739, Methinks why, (1693,1739, why wishing, (1693,1739, wishing you, (1693,1739, you you, (1693, you (1739, you, Courage, (1693,1739, Courage Honor, (1693,1739, Honor me, (1693,1739, me Nay, (1693,1739, N a y too. (1693,1739,too; Guz, (1693, Guz. (1739, Guzman Know, (1693,1739, Know nay, (1693,1739, nay side, (1693, side (1739,side, ((Leon, ready within.)) (1739 omits.

164 : Don Guz (1739, Don Guzman 174-5: {{The Chamber with the Chimney in't.)) (1739 omits. 199 -.Lucia (1693,1739, Lucia, 210: what, (1693,1739, what 212: why, (1693,1739, why 215: Pardon, (1693, Pardon (1739, Pardon, 217: fail, (1693,1739, fail 218: 'Slid, (1693,1739, 'Slid 220-1 : Enter Guzman. (1693,1739 place this direction before 1. 220. 234: N a y , (1693,1739, N a y 244: W h y , . . . Faces, (1693,1739, W h y . . . Faces 288: then, (1693,then (1739,then, 304-5: ((Alv. Guiv. Jul.)) (1739 omits. 308: Uncle, (1693,1739, Uncle; 312: Martyr (1693,1739, Martyr,

Anto.

T E X T U A L NOTES 1. 326: 3 29 : 334: 335: 342: 345: 349: 374-5: 377: 388: 392: 415-6: 428: 430: 445: 459: 462-3: 464: 469: 477: 478: 487:

899

But, by Saturn, (1693,1739, B u t by Saturn for, b y Boreas, ( 1693,1739, for by Boreas for, by Ixion, (1693,1739, for b y Ixion Remember, (1693,1739, Remember so, (1693, so (1739, so, Guzman, (1693,1739, Guzman them, (1693, them; (1739, them, {{The New Flat Scene.)) (1739 omits. are. They (1693,1739, are, they them; (1693, them. (1739, them; Trifle. (1693,1739, Trifle? {{The Forest.)) (1739 omits. thee, (1693, thee (1739 thee, wonder, (1693, wonder (1739 wonder, Morrow, (1693, Morrow (1739, morrow, brave Example (1739, good Example Leon., having (1693, Leon, having (1739, Leonora having but where you will appoint, (1739 omits. what, (1693,1739, what These, (1693,1739, These Look, (1693,1739, Look Invulnerable; (1693,1739, Invulnerable,

487-8: Alv. and Guiv. run away. (1693,1739, Run away 488-9: Then wiping, etc. (1693 places this direction opposite 11. 489, 490. (1739 places it after 1. 488. 498: self (1693, self, (1739, self 499: you, (1693, you (1739, you, 500: No, (1693, No (1739, No, 501: then, (1693,then (1739, then, 504: see, (1693, see (1739, see, 513: Ah, (1693,1739, Ah 517: But, (1693,1739, But 531-2: {{The Garden in Tryphon as a Back Scene.)) (1739 omits. 548: but he, (1693,1739, but he 551: confident, (1693,1739, confident 552: fight (1693, figth (1739, fight 564: (Some (1693, Some? (1739, Some, 567: up, Piracco, (1693, up Piracco (1739, up, Piracco, 571: now, (1693, now (1739, now, : 573: 575: 579: 584-5 : 586: 589: 593: 596: 605: :

Ladies? (1693, Ladies. (1739, Ladies? troth, (1693, troth (1739, troth, troth, (1693, troth (1739, troth, Swords (1693,1739, Swords, Oviedo whispers, etc. (1693,1739 place this direction after 1. 585. Discourse, (1693, Discourse (1739, Discourse, Fie, (1693,1739, Fie but, (1693,1739, but whom (1693,1739, whom, Yes, (1693, Yes (1739, Yes, I, (1693,1 (i739,I,

900

T E X T U A L NOTES

Why, ( 1 6 9 3 , Why ( 1 7 3 9 , Why, sport; ( 1 6 9 3 , 1 7 3 9 , sport, We ( 1 6 9 3 , 1 7 3 9 , we Proposal; ( 1 6 9 3 , Proposal, ( 1 7 3 9 , Proposal; Don Guz . . . Man). Then ( 1 6 9 3 , 1 7 3 9 , Don Guz . . . . Man) then Whispers ( 1 6 9 ¡¡Whips ( 1 7 3 9 , Whispers contrived! ( 1 6 9 3 , 1 7 3 9 , contrived; List; ( 1 6 9 3 , 1 7 3 9 , List, Ladies ( 1 6 9 3 , 1 7 3 9 , Ladies, Frown; ( 1 6 9 3 , 1 7 3 9 , Frown, Enter Leon., ( 1 6 9 3 , Enter Leon. ( 1 7 3 9 , Enter Leonora Bow ( 1 6 9 3 , 1 7 3 9 , Bow, Talionis; ( 1 6 9 3 , 1 7 3 9 , Talionis, There ( 1 6 9 3 , 1 7 3 9 , there They talk together. ( 1 6 9 3 , 1 7 3 9 , Talk together. thousand, ( 1 6 9 3 , 1 7 3 9 , thousand; Pastr. and Ant., etc. ( 1 6 9 3 places this direction opposite 11. 7 6 7 , 7 6 8 . ( 1 7 3 9 places it after 1. 7 6 6 . 7 7 9 , 7 8 0 : Pastrana, you'll order my Steward to prepare a Feast. ( 1 7 3 9 omits. 7 8 7 - 8 : Exeunt. ( 1 6 9 3 , 1 7 3 9 place this direction after 1. 7 3 9 . •.the Piazza. ( 1 6 9 3 , the Piazzo. ( 1 7 3 9 , the Piazza. : {{The New Flat Scene.)) ( 1 7 3 9 omits. 8 2 1 - 2 : Tireletta ( 1 6 9 3 , Tirelet. ( 1 7 3 9 , Tireletta 8 2 5 : News! ( 1 6 9 3 , 1 7 3 9 , News: 8 6 0 - 1 : {{The new black Scene)) ( 1 7 3 9 omits. : {{Rapping ready)) ( 1 7 3 9 omits. 9 0 1 : as well as Shot-proof; ( 1 7 3 9 omits. 9 0 6 : ere ( 1 6 9 3 , e'er ( 1 7 3 9 , ere 9 0 9 : engage, ( 1 6 9 3 , 1 7 3 9 , engage 9 2 1 , 9 2 2 : But, dear Alcanzar, ( 1 6 9 3 , But dear Alcanzar ( 1 7 3 9 , But dear Alcanzar, 9 4 3 - 4 : Says: ( 1 6 9 3 , Says, ( 1 7 3 9 , says, 9 5 8 : Go, ( 1 6 9 3 , 1 7 3 9 , Go 9 6 5 : my ( 1 6 9 3 , My ( 1 7 3 9 , my 9 7 1 : Ague, ( 1 6 9 3 , Ague ( 1 7 3 9 , Ague, 9 8 3 : So, ( 1 6 9 3 , So ( 1 7 3 9 , So, : ye, ( 1 6 9 3 , ye (i739,ye, 9 8 7 : Bolted, I mean, ( 1 6 9 3 , 1 7 3 9 , Bolted; I mean 9 9 0 : Proceed, ( 1 6 9 3 , Proceed ( 1 7 3 9 , Proceed, 1 0 1 6 : Soft, ( 1 6 9 3 , 1 7 3 9 , Soft 1 0 2 0 : Well, ( 1 6 9 3 , Well ( 1 7 3 9 , Well, 1 0 2 1 : Domine ( i Ó 9 3 , D o m n e ( 1 7 3 9 , Domine 1 0 2 4 : Come, ( 1 6 9 3 , Come ( 1 7 3 9 , Come, ActV : {{The New Flat Scene.)) ( 1 7 3 9 omits. 1. 8 : Pray, Sir, ( 1 6 9 3 , Pray Sir ( 1 7 3 9 , Pray Sir, 2 9 : What, ( 1 6 9 3 , 1 7 3 9 , What 5 3 - 4 : {{Queen of Hungary's Chamber.)) ( 1 7 3 9 omits. : ((.4 Periwig for Francisco.)) ( 1 7 3 9 omits. : {{A Paper like a Bond,)) ( 1 7 3 9 omits. 1. 6 0 8 618 624 632 633, 634 637-8 638 64s 646 662 677-8 685 687 694 720-1 735 763-4

T E X T U A L NOTES

9OI

1. 53-4: Enter . . . Guivarro, Pastrana, and Alvares (1693, Enter . . . Guivarro Pastran. and Alvar. (1739, Enter . . . Guivarro Pastrana, and Alvares 65: is, (1693,1s (1739, is, : Friends, (1693, Friends (1739, Friends, 86: about? (1693,1739, about. 97 : for there (1693, for their (1739, for there 98: Stars (1693, Stars, (1739, Stars 101: revives (iÓ93,revies (1739, revives 105,106 : be on to Morrow (1739, be by to-morrow 107: The (1693,1739, the 117: shall, (1693,1739, shall 128: Spouse (1693,1739, Spouse, : 131: 139: 158: 159: 164: 171: 176: 179: 188: 191-2:

me (1693,1739, me, Georges (1693, George's (1739, George's pray, (1693, pray (1739, pray, ere (1693,1739, e'er ere (1693,1739, e'er Whither (1693, Whether (1739, Whither why, (1693,1739, why Virginity, (1693,1739, Virginity now, (1693, now 1739, now, Crowns, (1693, Crowns; (1739, Crowns, starts. (1693,1739, starts)

198: Ladies, (1693, Ladies (1739, Ladies, 202-3: not, crying. Francisco (1693, not (crying) Francisco (1739, not. Francisco : Guzman's Sword. (1693, Guz .Sword. (1739, Guzmans Sword. 209: them; I say, (1693,1739, them, I say 21 s : Wonders ; ( 1693,1739, Wonders, : Guivarro . . . Alvares (1693, Guiv. . . . Alva. (1739, Guivarro . . . Alvares 223-4: {{Clashing 0}Swords ready)) (1739 omits. 242: they'll (i693,the'll (1739, they'll 274-5: to Mar., (1693, to Mar. (1739, to Maria, : Guzman, (1693,1739, Guzman 277-8: the Priest (1739 omits "the." 280: Light, (1693, Light (1739, Light, 292: Solons . . . Aratins . . . Agrepinas (1693, Solon's . . . Aratin's . .. Agrepina's (1739, Solons . . . Aratins . . . Agrippina's 305: T o (1693,1739, to 310: Women (1693,1739, Women, 314: Fernando, (1693, Fernando (1739, Fernando, 339: me; (1693,1739, me, 358: us, Sir, (1693, us Sir, (1739, us, Sir, 372: would, (1693,1739, would

T E X T U A L NOTES

902

7. M R .

ANTHONY TEXT

Mr. Anthony was not printed until some twenty years after its original production at the Duke's Theatre. In 1690 there was published a quarto which appeared in two issues during that same year. The issues differ only in the titlepage. The second issue seems to have been occasioned by a mistake in spelling on the first title-page. " Orrery " was printed " Orrey." Along with its correction of this misspelling, the second issue changes to Arabic figures the Roman numerals used for the year date on the first title-page. Copies of the first issue apparently are very scarce, for the editor has not located more than the one specimen that reposes in the Harvard College Library. Since the 1739 octavo of collected Orrerian drama did not include, for some strange reason, Mr. Anthony, the only further edition of the play after the 1690 quarto is a wretchedly printed duodecimo bearing the date of 1794. This latter text shows occasional alterations of spelling and punctuation. Several verbal variations, chiefly erroneous, also occur and appear to be the result of careless typesetting. Obviously the duodecimo cannot be considered of much importance to an editor. The present text, therefore, is based entirely upon the 1690 quarto, but the very few differences in the 1794 duodecimo which have a bearing upon the present text have been listed in the following notes. Many emendations of punctuation as given in the quarto have been made in order to clarify properly lines the sense of which was quite confused b y the original, slipshod editing. All departures, however, from the 1690 edition in spelling, punctuation, and wording have been fully noted. The page divisions of 1690 are printed in square brackets on the margin to the right of the present text. NOTES

Dramatis Personae: 1690 reads — Drammatis Personae. Sir Timothy, Mr. Anthony, Mr. Plot, Mr. Art, Pedagog, Mr. Cudden, Trick,

Mr. Mr. Mr. Mr. Mr. Mr.

Sir Timothy's Lady, Mrs. Philadelphia, Mrs. Isabella, Mrs. Nell, Mrs. Nan, Goody Winifred, 1794 reads "Haines"

for "Hains,"

Nokes. Hains. Batterton. Underhil. Angel. Samford.

Mrs. Jennings. Mrs. Batterton. Mrs. Long. Mr. Ν orris. and "Betterton" for "Batterton."

Mrs. Nell is in the 1690 quarto far more often called " Mrs. B e t t y . " Nevertheless, throughout the first four acts there does occur a most puzzling interchange of these two names in connection with Sir Timothy's niece. In the

T E X T U A L NOTES

9O3

fifth act, however, the niece is consistently given the appellation " M r s . B e t t y . " Hence, in the present text, the name of this female character is printed throughout as " M r s . B e t t y " rather than " M r s . N e l l " in order to avoid any confusion of identity. Prologue: 1. 2: whisper Miss, (i6go, whisper Miss: 3 : gay Cloaths, (1690, gay Cloaths·, 23 : still rail (1690, still rail, 27: for Criticks ; ( 1690, for Criticks, 28: Scenesubmit, (1690, Scene submit: 29: to engage (1690, to engage, Text of the Play: Play title omitted in 1690 quarto. Act I, 1. 2 : Who is that? (1690, Who is that, S : Duce take her ! ( 1690, Duce take her, : I'll be sworn, (1690, I'll be sworn 8 : Ah, my Domine, (1690, Ah my Domine, 18: Mrs. Isabella, (1690, Mr .Isabella, 20: did you so? (1690, did you s o — · 21: jealous? (1690, jealous. (1794, jealous? 24: Why, I tell you, (1690, W h y I tell you 2 7 : Out on it ! ( 1690, Out on it, 29: could? (1690, could: (1794, could? 33 : come, come, (1690, come, come 34: No Dissembling! (1690, No Dissembling? 38: Mistriss; (1690, Mistriss,

(1794, No Dissembling;

: fire, (1690, fire; 42 : my Catechism. M y Instructer (1690, my Catechism, my Instructer 52, 53: Ah, ha! . . . Son, Go! His Face (1690, A h ha; . . . Son: Go his Face 55 Mr. Professori (1690, M r .Professor: 56 to thee; for, if (1690, to thee, for if 61 thy Discipline) ; (1690, thy Discipline) 62 than I am, (1690, than I am; 66 Prethee, (1690, Prethee 67 at me): (1690, at me :) 71 Martyr-like, (1690, Martyr-like 74 look through, by which (1690, look through; by which, 78, 79 which, Consul-like, (1690, which Consul-like 85 Pate, (1690, Pate; 96 his Father's. (1690, his Fathers, 102 remember this, (1690, remember this 104 intrigue; (1690, intrigue, 106 submission. (1690, submission: 107 I have said ; (1690,1 have said, 109 Oh, (1690, Oh 114 than say ( 1690, then say 116 my Father's. ( 1690, my Fathers.

T E X T U A L NOTES 1. 120 Oh,

134 136, 137 139 I39. 140 142 149

151,152 158 159 163 164 168-9 169

174

X76

185

(1690, Oh

Disciple, (1690, Disciple afterwards (1690, afte wards

ere

(1690, e're

Do so, Mr. Tony ; (1690, D o so Mr. Tony, all this, (1690, all this Mr. Anthony. This (1690, Mr. Anthony, this Go, Mr. Tony, . . . you), (1690, Go Mr. Tony, . . . you) all this, (1690, all this Mr. Tony, do; (1690, Mr. Tony, do, Alas, Pupil (1690, Alas Pupil boasted-of (1690, boasted of Ped. (1690, Pedag. Mi. Plot. Rather (1690, Mr. Plot, rather the World! (1690, the World, a good one ! ( 1690, a good one ; the Courtesie? (1690, the Courtesie. Mrs. Betty (1690, Mrs. Nell

192 Ah, h a ! (1690, Ah ha, 193, x 94 And, to act this, (1690, And to act this 196 should be, (1690, should be 198 ere I Calved it ! (1690, e're I Calved it. 203 his own? ( 1690, his own. 215 b y him ; (1690, b y him, 220 Cuckold! (1690, Cuckold. 220-1 Ped. (1690, Pedag. 2 2 1 mad? Why, (1690, mad, why 223 recover them, (1690, recover them 226, 227 life, I tell thee (1690, life I tell the (1690, kicks Pedag. then holds him 2 2 9 - 3 0 kicks Ped., then holds him, 2 3 1 Murder, Murder! (1690, Murder, Murder. 233 Help, help ! (1690, Help, help. 234 Voice; (1690, Voice, 238, 239 else, by all my hopes, (1690, else by all my hopes 239-40 Ped. (1690, Pedag. 243 ία Greek, (1690, in Greek! 245, 246 Sickness, in which (1690, Sickness; in which, 247 frighted me ; ( 1690, frighted me, 252-3 whispers to Ant. ( 1690, whispers to him 253 good Boy! Thou (1690, good Boy, thou 256 whispering to Plot. (1690, whispers to him. 257 ere (1690, e're 259 Mr. Pedagogl (1690, Mr. Pedagog, 261 Indeed, (1690, Indeed 264 Sickness, (1690, Sickness; 266 our Care; (1690, our Care, 268 Come, (1690, Come 277 Sickness; (1690, Sickness. 278 Thou who, ere thou (1690, Thou, who e're thou 2 8 1 - 2 Ped. leaps (1690, Pedag. leaps

T E X T U A L NOTES

905

1.288,289: cry aloud: "Admirably well declaimed, Mr. AnthonyÌ" I swear, . . . rate, (1690, cry aloud, Admirably well declaimed Mr. Anthony, I swear . . . rate 305: him with? (1690, him with. 306: Yes, marry does he! H e (1690, Yes marry does he, he 309: Ah, (1690, Ah 316: theStaff. (1794, a Staff. 317-8: Ped. leaps back. (1690 omits " P e d . " 318: 'Snigs, (1690,'Snigs 320: m e i n ? (1690,mein. 324: rehearse, (1690, rehearse 332: Capitulation, (1690, Capitulation 335: Winifred I (1690, Winifred. 337: Run, Preceptor, (1690, R u n Preceptor 340: Virginity, (1690, Virginity 342 : at once! (1690, at once. 345: But, prithee, (1690, But prithee 350: knowledge. (1690, knowledge: 351: he is so, (1690, he is so 355,356: affronting him? For (1690, affronting him; for 356: 357, 358: 368: 371: 375: 379: 3 8 7-8 : 396: 398: 403 : 404: 405-6 : 411-2: : 413: 419: 42 7 : 436: : 437: 439: 446: 459, 460: 461-2: 467 : 469:

Kinsman! (1690, Kinsman. if, after . . . him, (1690, if after . . . him but now, (1690, but now nor Stick? (1690, nor Stick. be need, (1690, be need Good morrow, (1690, Good morrow arms in Kirnbow, ( 1690, arms on Kimbow, ( 17 94, arms in kimbow, ungood morrow, (1690, ungood morrow And what, (1690, And what Repartee? . . . enough. (1690, Repartee, . . . enough? proceed but (1690, proceed: But Clapping Ant. (1690, Clapping him crying·. "Remember your Oath, Jack!" Ped. interposes, (1690, crying (remember your Oath Jack) Ped. Interposes, Enter Mr. Art. (1690 places this stage direction between 11. 405 and 406. W h a t ! (1690, What, unreasonable; (1690, unreasonable, Learnings sake ; (1690, Learning sake ; W h y , ' t i s (1690, W h y ' t i s (Aside, to Plot.) (1690 omits this direction. him, (1690, him Prethee, tell me, (1690, Prethee tell me Mr.Cudden. If (1690, Mr. Cudden, if which, . . . English, is, to Buffets; (1690, which . . . English, is to Buffets; Ant., seeing (1690, Ant. seeing says to Mrs. Philad.) (1690 omits "to Mrs. Philad." This stage direction is placed opposite 11. 466 and 467 in 1690. Mrs. Isabella, (1690, Mrs .Philadelphia,

go6

TEXTUAL

NOTES

1. 474: Horse-trick! If (1690, Horse-trick, if 476-7: to Isabella. (1690, to Philad. 481-2: makes to Isabella; (1690, makes to Philadelphia; : on Mrs. Philadelphia. (1690, on Mrs. Philadelphia, saying 482: H e y d a y ! T h i s (1690, H e y d a y , this 497: Pocket-Pistol! (1690, Pocket-Pistol. 504: fight (1690, fight, A c t I I , 1 . 1 : a State, (1690, a State 27 ff : 1690 assigns this speech to Nell. 33 : Cousin Betty. (1690, Cousin Mall. 34 ff : 1690 assigns this speech to Nell. 34: t o m e , (1690, t o m e ; 35: Counterpart, (1690, Counterpart 38: Logick, (1690, L o g i c k ; 39 ff: 1690 assigns this speech to Nell. 39: m y A u n t , (1690, m y A u n t 5 1 : W h y , (1690, W h y 54 ff, 59 ff, 67 ff: 1690 assigns these speeches to Nell. 92: B u t , (1690, B u t 101: 104: 104-5: 108: 144: 155: 156: 157:

A w a y , W o m e n ! W e (1690, a w a y W o m e n , we 1690 assigns this speech to Nell. Ex. A r t , B e t t y , (1690, Ex. A r t , Nell, W i t c h , (1690, W i t c h present; (1690, present, W h y , (1690, W h y P r a y , (1690, P r a y K i c k is. (1690, K i c k i s ?

164: W h y , that . . . insupportable! (1690, W h y t h a t . . . insupportable: 167: then? Besides . . . Ill-breeding. (1690, then; besides . . . Ill-breeding, 169: M r . Art, (1690, M r . Art 174: I s a y : (1690,1 say, 175: I'le (1690,11e : e're (1690, ere 176: dares, n a y , (1690, dares: N a y , 178: Valours in, is it not, M r . Pioti P r a y , (1690, Valours in: I s it not M r . Pioti Pray 186: assure y o u , (1690, assure y o u 187: Come, (1690, C o m e 193: Well, (1690, W e l l 205-6: Aside. (1690, aside. 205, 206: Cudgel. > C h e a r up, (1690, Cudgel: Chear up 207: W e a p o n s (1690, Weapons, 209: things! I tell y o u , (1690, things, I tell y o u 212, 213: a third? 'Slid, (1690, a t h i r d : ' S l i d 214: tell you, (1690, tell y o u 217: them. 'Tis, I tell you, (1690, t h e m , ' t i s I tell y o u 219: hurt, (1690, h u r t ; 220: Expences? (1690, Expences. 2 2 2 : believe it ; for ( 1690, believe it ; For

T E X T U A L NOTES

907

1. 225: said you? W h y , (1690, said you! W h y 228: E a r : " P r a y , Gentlemen, . . . sake." (1690, E a r ! Pray Gentlemen . . . sake. 229: Mr. Anthony, (1690, Mr. Anthony} 230: please you; (1690, please you, 233: Honour, I detest it; (1690, Honour I detest it, 239: obey you, Sir: But, I beseech you, (1690, obey you Sir: B u t I beseech you 241: there now, (1690, there now 242: avoid it? A n d (1690, avoid it; and 244: ere (1690, er'e 245 : of Duels — (1690, of Duels. — 246: W h y , (1690, W h y 249: L a w , (1690, L a w 250: the Weapons, (1690, the Weapons 254: Man. Pray, (1690, M a n ; pray 255 : your Servant, (1690, your Servant 256: N a y , Mr. Anthony, (1690, N a y Mr. Anthony. 257: protest, Sir, (1690, protest Sir 261 : I say, (1690,1 say 264, 265: ingenious, . . . But, Mi. Plot,—(1690, ingenious . . . B u t Mr. Plot.— 268: asham'd; (1690, asham'd, 269: W h y , Faith, (1690 W h y Faith 273: Arrows! B y this light, (1690, Arrows ; b y this light 276: M r . Pedagog. (1690, Mr. Pedagogg. 277: contriv'd; (1690, contriv'd, 279: for nothing? (1690, for nothing. 286: W h y , (1690, W h y 288: Armour, think you, (1690, Armour think you 292, 293: call him! (1690, call him 295: Come nearer, Mr. Art. M y friend, (1690, Come nearer M r . Art, m y Friend 298 : Y e s , marry, will I, (1690, Y e s marry will I 300: his Cartel, (1690, his Cartel 305: Soft, (1690, Soft 308: 'Slid, . . . I know, (1690, 'Slid . . . I know 314: offensive, (1690, offensive 3 1 4 , 3 1 5 : < M a r k that, Jack. > (1690, ( m a r k t h a t Jack) 3 1 7 : satisfy'd. (1690, satisfy'd, 319: N o , (1690, N o 322: callit? (1690, call it, 324: B u t , (1690, B u t 326: ourselves. (1690,ourselves, 333: A w a y ! . . . l ' l e (1690, A w a y , . . . He 334: have Reason, (1690, have Reason : leave you, (1690, leave you : Ex. Art. (1690, Ex. Art. 335 : riddle me what (1690, riddle me riddle me [«c] what 339: Expressions; (1690, Expressions: 340: dream (1690, dream,

9o8

T E X T U A L NOTES

1. 342: But, (1690, B u t 344: Ah, how (1690, Ah how 345: farewel, . . . bold! (1690, farewel. . . bold. 346: Farewel, . . . been! [Exeunt. (1690, Farewel. . . been. 347: Mr. Pedagog, (1690, Mr. Pedgagog, 356: understanding too; (1690, understanding too: 359: Joy. He (1690, Joy:he 360: nay, (1690, nay 362: Well, (1690, Well 364: 'em (1690, em 367: Mr.Philpot, (1690, Mr. Philpot 371,372: Pedagog, as soon ( 1690, Pedagog assoon 381: his word. (1690, his word; 386: Come, (1690, Come 387 : a fiddle. (1690, a fiddle, : 388: 389-90: 390: 392: 393: 394: 399: 402: 41 o : 417: 425: 426: 436,437 : 441: 442-3: 445 : 451: 454: 456-7 :

Ex.

Mr. Pedagog, (1690, Mr. Pedagog be lost, (1690, be lost : at one door. (1690, at one door: Stay, (1690, Stay the matter, (1690, the matter And why, I pray, (1690, And why I pray yore by you, (1690, yor'e by you Oh, (1690,0h Pray, (1690, Pray his Lady ( 1690, his Lady, Closet, (1690, Closet; Love! (1690, Love.

Goody Winifred — (1690, Goody Winifred. — tell it, — . . . do, — (1690, tell it, . . . do, If she (1690, if she Win., hearing (1690, Win. hearing my Winifred — (1690, my Winifred. — beguil'd; (1690, beguiPd, you list; (1690, you list, embrace one another (1690, embraces one another (1794, embrace one another 459: than be (1690, then be 463: Night (1690, Night, 465 : Quarel, . . . Friend, (1690, Quarel. . . Friend 466: Lovers (1690, Lovers, Act III, 1 . 1 : yet come; (1690, yet come, 3 : Why, the best is, (1690, W h y the best is : were here (1690, were here, 11 : M y hope is (1690, M y hope is, 14: 1690 assigns this speech to Nell. : stations, (1690, stations 15-6: as Betty does. (1690, as Nell does. 18: Ladies, to your post! (1690, Ladies to your post 18-9: Enter Cudden, . . . Belt. . . Basket-hilts. (1690, Enter Cudden . . . Belt, . . . Basket hilts:

T E X T U A L NOTES 1. 19: 20: 23: 26: 28: 29: 30-1: 31 : 32: 34: 36: 38, 39: 39,40:

not come, and (1690, not come: And for, . . . is over, (1690, for . . . is over; Testament. However, (1690, Testament: However Courage; (1690, Courage: my Victory but (1690, my Victory: But Pray (1690, pray and, at last seeing Cudden, starts back, Crying "Ahl" last seeing Cudden starts back — Crying — Ah — mortifyd me ! (1690, mortifyd me. Arms! (1690, Arms: at last? (1690, at last; Alas, Cousin, (1690, Alas Cousin But, since, as you say, (1690, B u t since as you say Come on, (1690, Come on

41: But,

(1690, and at

(1690, B u t

45 : Consider, I beseech you, (1690, Consider I beseech you 47, 48: which, . . . said, is (1690, which . . . said is, 48,49: Come, I say, (1690, Come I say S3 : no Quarter (1690, no Quatter 59: that Courtesie (1690, that Conrtesie 61: work. Uncase . . . say! (1690, work, uncase . . . say. 71, 72: Weapons, and . . . Love. How (1690, Weapons; And . . . Love; how 73 : N a y ,

74: 75: 76: 78: 81: 85: 86 : 87:

(1690, N a y

Indeed, Cudden, (1690, Indeed Cudden a n A g u e ; b u t (1690, an Ague: But come. Have at you! (1690, come, have at you, lashy, poor (1690, lashy poor Arms . . . to you (1690, Arms, . . . to you, Motion. (1690, Motion: groan for : (1690, groan for, confess (1690, confess,

90: N a y ,

(1690, N a y

93 : must be, (1690, must be 97: remember, (1690, remember 99: in y o u

(1690, i n y o u ,

100,101,102: Basket? (For . . . you from . . . blades.) (1690, Basket; for . . . you: From . . . blades. 118: Uncase! That (1690, Uncase, that 128: Y e s ,

(1690, Y e s

141 : Preserve me, (1690, Preserve me 142: Help! (1690,Help. 142-3: turns about. (1690, turns about, 144: W h y ,

(1690, W h y

149: Cousin, (1690, Consin, 155: Discord, (1690, Discord; 171 : B u t now I,

(1690, B u t n o w , I

200: Commodity. (1690, Commidity. 204: as you, and (1690, as you? And 207: fasting? (1690, fasting.

T E X T U A L NOTES 1 . 2 1 5 : thy ways, (1690, thy ways 221: Alas, (1690, Alas 230, 231: Courage, for . . . Tindar. (1690, Courage (for . . . Tindar.) 232: Maiden-head, (1690, Maiden-head 234: as soon as (1690, assoon as 241 : lik'd worse was, (1690, lik'd worse, was 244: Cuckold (1690, Cuckold, 245: Petticoats (1690, Petticoats, 248: my Timothy, (1690, my Tim. 254: Flanders Mare . . . Nagg (1690, Flanders Mare, . . . Nagg, 267 : resolv'd, (1690, resolv'd 277-8: Exeunt (1690,Ex. 286: Y o u see (1690, Y o u see, 287 : amongst you (1690, amongst you, 289 : was none. (1690, was done. 298: ere (1690, e're 314: Mistrisses. You'll (1690, Mistrisses, you'll 324: assign'd; (1690, assign'd, A c t I V , 1 . 1 : Well, (1690, WeH 4: de Arte (1690, de arte (1794, de Arte 5: Buz, (1690, B u z 8, 9: Learned! W h y , I tell you, Kinsman Cudden, but (1690, Learned; W h y I tell you Kinsman Cudden, B u t 13: Marry, come up, Don Cuddenl (1690, Marry come up Don Cudden: 14: Castilian. (1690, Castilian; 17 : take heed ; ( 1690, take heed, 18: White-face too; (1690, White-face too, 23: blood, (1690, blood; 23-4: Offers (1690, offers 26: offend you, (1690, offend you 28: W h y ! . . . say, " I (1690, Why? . . . say, I 29: his b a c k " ? (1690, his back. 30: Marry, did I not. (1690, Marry did I not, 30, 31: Gentlemen; what say you, Sirs? (1690, Gentlemen, what, say you Sirs? 37: W e l l , . . . y o u ; . . . case (1690, W e l l . . . you, . . . case, 39: 'Slid, (1690, 'Slid 39,40 -.Offers (1690, offers 42: Y o u had (1690, you had : an Anagram (1690, an Angaram 43: skill, (1690,skill 44: pray, angry Kinsman, (1690, pray angry Kinsman 48: as you; (1690, as you, 49: house then. (1690, house then, S ι : your selves, ( 1690, your selves ; 54, 55: them. A s . . . fighting, (1690, them: as . . . fighting; 55,56: once . . . Kinsman. Farewel (1690, once, . . . Kinsman: farewel 56: Cudden, l'le (1690, Cudden He 58: face, (1690, face 61-2 : He knocks. (1690, he knocks.

T E X T U A L NOTES

9II

I . 6 1 - 2 : (1690, The Scene opens, Philadelphia . . . Faces. Nan and Nell. Cudden . . . Stage. 64: yours, (1690, yours 65: mistook, (1690, mistook 66: 'Slid, (1690,'Slid 67: Heir, (1690,Heir 69: Sure, Mr. Antony, (1690, Sure Mr. Antony 70: Mass, . . . pretty! (1690, Mass . . . pretty; 71: Blindmans-Buff? (1690, Blindmans-Buff. 74: of it, (1690, of it 78: Rampantness. (1690, Rampantness, : beatme. Kinsman, (1690, beat me: Kinsman 80: for Poorer. I (1690, for Poorer, I 82: Soft, (1690, Soft : so inconstant. Since (1690, so inconstant, since 84: about, (1690, about 85 : and, pray, (1690, and pray 86: Morning? (1690, Morning: : Capitulations? As . . . it, (1690, Capitulations, as . . . it 88: the Wise; (1690, the Wise, 93: No, (1690, N o 98: ha, ha! (1690, ha, ha. 100: Cudden, (1690, Cudden : worse than (1690, worse then 102: necessited, (1690, necessited 104: Philadelphia, (1690, Philadelphia·, 105: Tongue (1690, Tongue, 106: therefore, (1690, therefore 108: light, Mrs. Isabel, (1690, light Mrs. Isabel n o : before so (1690, before os h i : Gallant? Y o u (1690, Gallant; you 116: mistook, (1690, mistook 117: Tony. D o (1690, Tony, do 118: merit, (1690, merit 125: Come, (1690, Come 127,128: Agreed. Mrs. . . . d e n y ' d ; . . . accept me (1690, Agreed, Mrs. . . . deny'd, . . . except me 130,131: back. — Pretty (1690, back — pretty 133: relief, . . . way, and (1690, relief . . . way: And 134: door. (1690, door; 135: Ghost, (1690, Ghost; 136: avoided. (1690, avoided — 136-7 : smiles. (1690, smiles 137: Tony, (1690, Tony 138: exceedingly (1690, exceedingly; : said. Pray, (1690, said; pray 141 : N a y , (1690, N a y 144: Faces, (1690, Faces; 150: condemn us (1690, condemn us, 156: Mrs. Betty, (1690, Mrs. Mall,

912

T E X T U A L NOTES

1. 158: 159: 160: 162: 165 ff: 170: 173: 174 fi: 175: 176: 177: 179: : 187: 191: : 193: 200: 201, 202: 203 : 205: 209: 211, 212: 213: 227: 232: 239: 249: 250-1: 260: 267-8: 268 : 275-6: : 283 ff : 291 : 302: 307, 308: 309: 329: 334, 335: 336: 342: 346: 349:

[Aside. (1690, (aside.) Foot. Only, . . . Judges, (1690, Foot, o n l y , . . . Judges Foundations, (1690, Foundations 1690 assigns speech to Nell. 1690 assigns speech to Mall. Assize (1690, Assize, Mrs. Nans and Mrs. Bettys (1690, Mrs. Nans, and Mrs. Nells 1690 assigns speech to Nell. Stanza (1690, Stanza, that, Jack. 'Twas, surely . . . Lover, (1690, that Jack, 'twas purely . . . Lover as soon make ( 1690, assoon make {whispering to Art.) (1690, to Art whispering l o v ' s t m e , (1690, lov'st me words. D o (1690, words, do 1690 assigns speech to Nell. Sentence, I hope, (1690, Sentence I hope past, (1690, past choose first? (1690, choose first: Choice! I'le . . . Betty (1690, Choice: I'le . . . Betty, Hark ye, ( 1690, Hark ye say you, Ladies? (1690, say you Ladies, Ear. (1694,1739,too: Scene opens. (1694,1739,Sceneopens,

: He stares about him awhile, and then sayes: tion. 1. 1: Escapes; (1694,1739, Escapes, 13: name; (1694,1739, name, 24: murmur (1694, murmure (1739,murmur 25: Policy, . . . do, (1694, Policy . . . do 26: lament (1694,1739, lament, 29: steer; (1694,1739, steer, 33: fear; (1694,1739, fear, 45: rise? (1694, rise. (1739, rise? 52: find? (1694, find. (1739, find? 54: controuls; (1694,1739, controuls, 58: end; (1694,1739,end, 73: 75: 77: 81:

(1739 omits this direc-

This, Brother, 's . . . be (1694,1739, This Brother's . . . be, vent; (1694,1739, vent, bow? (1694, bow. (1739, bow? Love . . . win; (1694, Love, . . . win, (1739, Love . . . win,

T E X T U A L NOTES 1. 85: 92: 100: 101: no: 112: 121: 123: 137 : 140: 141: 144: 148: 149: 153: 154: 160: 162: 163: 174-5: 187: 191: 199: 211: 217 : 223:

trust; (1694,1739, trust, Her; (1694,1739, Her. disclose? (1694, disclose. (1739, disclose? infect? (1694,1739, infect, Hair, (1694,1739, Hair; rude, (1694, rude. (1739, rude; good; (1694,1739, good, endures; (1694,1739,endures, when, alas, (1694,1739, when alas lay, (1694,lay. (1739,lay, " F o r b i d . . . d o , " (1694,1739,forbid . . . do, Queen, (1694,1739, Queen; me (1694,1739, me, Orders, . . . were, (1694,1739,Orders . . . were this? . . . high. (1694,1739, this, . . . high? Self; (1694,1739, Self, talk? (1694, talk. (1739, talk? dy. (1694, dy, (1739, die. A h , (1694,1739, A h Grotta. (1739,Grotto. meet, (1694,1739, meet: Hall, (1694,1739, Hall; Tear, ( 1 6 9 4 , 1 7 3 9 , T e a r ; Eyes, (1694, Eyes; (1739, Eyes, event, ( 1694,173 9, event ; sat (1694,1739, sate

¡ T h r o n e , (1694,1739, Throne; 227, 231, 233, 242: (1694,1739 omit all quotation marks. 229: doom, (1694,1739, doom. 230: Cause; (1694,1739, Cause, 239 : guilt, (1694,1739, guilt ; 244: made (1694, mode (1739, made 246: wounds; (1694,1739, wounds, 252: ask'd, . . . know. (1694,1739,ask'd . . . know, 253: do, (1694,1739, do. 258: grow; (1694,1739, grow, 268: Care; (1694, Care, (1739, Care; 269: particular? (1694,particular. (1739,particular? 278: breath; (1694,1739,breath, 281: Alarms, (1694,1739, Alarms. 282 : Herod, (1694,1739,Herod 284: see; (1694,1739, see, 293: While (1694, While, (1739, While 295: N o w , Guards, (1694,1739, N o w Guards 301: you, (1694,1739, you. 302: confest (1694,1739, confest, 303: Breast, (1694,1739, Breast: 304: known: (1694,1739, known, 305: T r a y t o r ! (1694,1739, T r a y t o r ; 306: Sister,. . . reveal'd, (1694,1739, Sister . . . reveal'd

924

T E X T U A L NOTES

1. 307 : This line is printed by 1694 and 1739 as part of Herod's speech, when it is obviously an aside remark made by Sohemus. 307-8: aside, (1694,1739,aside 314: built; (1694,1739, built, 31S : guilt, ( 1694,1739, guilt ; 320: T y r a n t ! (1694,1739, T y r a n t ; 321: Death, (1694, D e a t h ; (1739, Death, 328: M a n ; (1694,1739, Man, Act IV, 11.19, 20: (1694,1739 omit quotation marks. 20: Wound. (1694,1739, Wound: 25 : (1694 prints Din. opposite this line as if a new speaker were beginning hereupon. (1739 has the heading " D I N A " before 1. 25 and then prints a supposedly new speech beginning with that line. 26: grew, (1694,1739, grew; 29: blest; (1694,1739, blest, 36-7: Antipater discovers himself; (1694, Antip. discovers himself, (1739, Antipater discovers himself ; 43 give, (1694,1739, give; 50 due, (1694,1739, due; 62 agree; (1694,1739, agree, 64 severe; (1694,1739, severe, 67 repeal, (1694, repeal. (1739, repeal: 82 you . . . fall; (1694,1739, you, . . . fall, 90 resolve; (1694,1739, resolve, 91 Prince, (1694, Prince (1739, Prince, 94 go? (1694,1739, go. 102 Tamar, . . . Call. (1694,1739, Tamar . . . Call, 108 Ador'd; (1694,1739, Ador'd, 112 call; (1694, call, (1739, call. 118 act; (1694,1739, act, 122 here; (1694,1739, here, 133 thee; (1694,1739, thee. 135 Which, . . . unknown; (1694,1739, Which . . . unknown. 147 spent, (1694,1739, spent; 148 deferr; (1694,1739, deferr, 153 Ah, (1694,1739, Ah 157 Wife, (1694, Wife. (1739, Wife; 158 Subject. (1694, Subject; (1739, Subject: repent; (1694,1739, repent, 163 bought. (1694,1739, bought: 167 be; (1694,1739, be, 178 think, (1694,1739, think 179 o'reyou? (1694, ore you. (1739, o'er you? 180 Crime; (1694, Crime, (1739, Crime; 184 fling; (1694,1739, fling, 192 Ah, (1694,1739, Ah 194 withstood; (1694,1739, withstood, 198 have; (1694,1739, have, 205-6 Antipater, . . . doing, (1694, Antip. . . . doing (1739, Antipater . . . doing

T E X T U A L NOTES 1. 206 209-10 213 215-6 218 218-9 222 228 231 233-4 234 236 239 248 2SO 2S2 254 255-6 268 278 279 280 288 303-4 304 312 317 321 323 325 326 328 331 337 338-9 341 344 Act V, I.3 7 10 17 23 26 41 42 43 47 49 52

amaze; (1694,1739, amaze, says: (1694, says. (1739, says, her? (1694,1739, her. To the Queen. (1694,1739 omit this direction. disobey. (1694, disobey, (1739, disobey. Assault; (1694, Assault, (1739, assault, amaz'd! (1694,1739, amaz'd, lost; (1694,1739,lost, one! (1694,1739, one. fight. (1694,1739, fight, Death, (1694,1739, D e a t h deserv'dst, (1694, deserv'dst (1739, deserv'dst, thrive; (1694,1739, thrive, begun; (1694,1739, begun, implore; (1694,1739, implore, Obedience; (1694,1739, Obedience, abuse? (1694,1739, abuse, tost! (1694,1739, tost, Guards; (1694,Guards, (1739, Guards; Crost; (1694,1739, Crost, Breath? (1694,1739, Breath, D e a t h (1694,1739,Death: blot: (1694,1739, blot, clear: (1694,1739, clear, thrust. (1694,1739, thrust, 0 , hold! (1694,1739,0 hold; hence; (1694,1739, hence, design'd; (1694,1739, design'd, H a ! (1694, H a ; (1739, H a ! Lust, (1694,1739, Lust doubt; (1694,1739, doubt, out, (1694,1739, out; Mercy (1694,1739, Mercy, Phaltiel, (1694,1739, Phaltiel; thee, (1694,1739, thee. Guards. When (1694, Guards, when (1739, Guards; when above, (1694, above (1739, above, height, (1694,1739, height; only (1694,1739, only, repent; (1694,1739, repent, Virtue ( 1694, Vitrue (1739, Virtue Orders, (1694,1739, Orders were? (1694,1739, were. be; (1694,1739, be, too, (1694,1739, too One, (1694,1739, One Who, . . . lives, (1694,1739, Who . . . lives me. (1694, me, (1739, me. Ah, (1694,1739, Ah deluded, (1694,1739, deluded

926

TEXTUAL NOTES 1. 58 63 64 65 79 84 86 no 119 125 130 133 140 153 155 157 162 165 168 169 173 179 185 193 198 206

210 211 217 218 218-9

now? (1694, now. (1739, now? Son, (1694,1739, Son: Which, (1694,1739, Which spare, (1694,1739, spare: her? (1694,1739, her: Proceed; (1694,1739, Proceed, Ah, . . . find! (1694,1739, Ah . . . find, you, alas, (1694,1739, you alas Heavens!. . . Debate; (1694,1739,Heavens . . . Debate, crave; (1694,1739, crave, wrath, (1694,1739, wrath; ere . . . be; (1694,1739, e'er . . . be, dy, (1694, dy; (1739, die; Howe'er, (1694,1739, Howe'er Oh, (1694,1739,0h come; (1694,1739, come, ere (1694,1739, e'er Friends, (1694,1739, Friends; his? (1694, his. (1739, his? Friends. The (1694,1739, Friends, the Power. (1694,1739, Power, Man; (1694,1739, Man, dy; (1694, dy, (1739, dy; know; (1694,1739, know, draw, (1694,1739, draw: Oh, (1694,1739,0h Queen! (1694, Queen. (1739, Queen! now! (1694,1739, now. away. The (1694,1739, away the me; (1694,1739, me, all, . . . absent, (1694,1739, all . . . absent Bed. (1694,1739, Bed, other. As

222 223 224-5 226 227,230 227 228 230 232 235 236 240 240-1 249 258 259 263

(1694,1739,other,as

Blood, (1694,1739, Blood: Nay, sworn (1694, Nay sworn sleeping,

(1694, sleeping

(1739, Nay swam

(1739, sleeping,

fear? (1694,1739, fear. (1694,1739 omit quotation marks. sleeps, (1694,1739, sleeps Rest (1694,1739, Rest? disarm? (1694,1739, disarm. thee too! (1694,the too. (1739,thee too. ere (1694,1739, e'er know, (1694,1739, know; sigh (1694,1739, sigh, sighs;

(1694,1739, sighs,

Unless, (1694,1739, Unless Sin! (1694,1739, Sin. Oh, (1694,1739,0h dy, (1694,1739, dy;

TEXTUAL I.268-9: : 280-1: 281: 283: 286: 288:

: 291: 293: 300: 312: 320-1: : 323: 328-9: 332: 335: 344-5:

NOTES

Theatre. ( 1 6 9 4 , 1 7 3 9 , Theatre, A n t i p a t e r (1694, A n t i p . (1739, A n t i p a t e r A n t i p a t e r (1694, A n t i p . (1739, A n t i p a t e r know (1694,1739, know, prest. ( 1 6 9 4 , 1 7 3 9 , prest, Innocent! (1694,Innocent. (1739,Innocent! ( 1 6 9 4 , 1 7 3 9 print this line as if p a r t of A n t i p a t e r ' s speech, a n d interpolate between 11. 287 and 288 the stage direction " H e r o d looking out of the Scene." Son! (1694,1739,80η? dread? (1694, dread, (1739, dread? fate, ( 1 6 9 4 , 1 7 3 9 , fate Murtherer, ( 1 6 9 4 , 1 7 3 9 , M u r t h e r e r ; now (1694,1739, now, A n t i p a t e r . . . A n t i p a t e r (1694, A n t i p . . . . A n t i p . (1739, A n t i p a ter . . . A n t i p a t e r through. (1694, through, (1739, through. Strücken (1739, stricken A n t i p a t e r (1694, A n t . (1739, A n t i p . not, ere ( 1 6 9 4 , 1 7 3 9 , not e'er this? ( 1 6 9 4 , 1 7 3 9 , this, crying, "Murtherl Treason*. Treasonl MurtherV' (1694, crying Murther, Treason, Treason, Murther. (1739, crying Murther, Treason.

3 5 0 - 1 : A n t i p a t e r (1694, A n t . (1739, A n t i p a t e r : the other; ( 1 6 9 4 , 1 7 3 9 , the other, 3 5 1 : been! (1694,1739,been. 353: A h , (1694,1739, A h 354: prove? (1694, prove. (1739, p r o v e ! 3 6 0 - 1 : self: (1694, self. (1739, self, 3 6 1 : m e ; (1694,1739, me, 363: y o u h a v e (1739, y o u had 367: dead; (1694,1739, dead, 372: ascend. (1694,1739, ascend, 377: draw; (1694,1739,draw, 382-3: A s d r u b a l (1694, Asdr. (1739, A s d r u b a l : seated, . . . her; ( 1 6 9 4 , 1 7 3 9 , seated . . . her, : rest. A s d r u b a l (1694, rest, Asdr. (1739, rest. 390: D o o m , ( 1 6 9 4 , 1 7 3 9 , D o o m . 406: too, (1694, too: (1739, too; 4 1 1 : crave. (1694,1739, crave, 4 1 3 : Samias, (1694, S amias (1739, S amias, 4 1 9 : great. ( 1 6 9 4 , 1 7 3 9 , great, 420: D e b t , ( 1 6 9 4 , 1 7 3 9 , D e b t . Epilogue,!.9: Nay, (1694,Nay (1739,Nay,

Asdrubal

928

T E X T U A L NOTES 9. T H E T R A G E D Y

OF

ZOROASTRES

TEXT

The Tragedy of Zoroastres has existed up to the present only in the original manuscript as preserved at the British Museum, i.e. Sloane Ms. 1828, ff. 46-79. This manuscript passed, by some strange chance, sometime within a decade or two after Orrery's decease, into the collection belonging to the family of Sir Thomas Browne, the noted author-physician. Since Sir Thomas died in 1682, the manuscript was more likely added by his son, Dr. Edward Browne. The latter from his youthful days in Norwich was a lover of the theatre and drama, as is evidenced by his memorandum book of 1662, now well known to stage historians. The Tragedy of Zoroastres is listed as item #12 under the folio section in A Catalogue of M ss. in the Possession of Sr Tho Browne M.D. . . . and of his Son DT Edward Browne (Bodl. Bibl. Ms. Rawl. D . 390, f. 73), a catalogue which was prepared prior to the sale of the manuscripts after Dr. Browne's death in 1708. Sir Hans Sloane, the eminent court physician, became the next owner of the Zoroastres manuscript by his purchase of the Browne collection. When, after Sloane's death, his manuscripts were sold to the British Museum, the latter of course gained possession of The Tragedy of Zoroastres. Not until 1917, however, was this Orrery item brought to the attention of scholars. In that year Montague Summers published a somewhat detailed description, both of the manuscript and of the play (Modern Language Review, X I I , 24 ff), but Summers' remarks in that article are by no means accurate or complete. The title-page of the manuscript bears the heading " The Tragedy of Zoroastres" in what, beyond question, is Orrery's own hand; beneath the heading, in another hand, " M S 1677 " ; on a third line, in still another hand, an undecipherable Latin motto. Both " M S 1 6 7 7 " and the Latin motto have been heavily cancelled by crosses and dashes. Below the cancelled lines a fourth hand has added " W r i t t e n by the right honourable / the late Earl of O r r e r y " and, on subsequent lines, two Latin mottoes as now printed. The hand which wrote these additions is not observable elsewhere in the manuscript and obviously did its work sometime after Orrery's death in 1679. The phrase, " W r i t t e n in 1676," does not appear on the title-page, as Summers (op. cit., 25) states, but on the verso of that leaf below the dramatis personae. This notation and the interpolation, " H i g h Preist," into the list of dramatis personae, were apparently made by the hand to be observed at the close of Act V. The rest of that page, which is devoted to dramatis personae and " T h e Scaen," was penned most certainly by Orrery. Summers seems to take for granted that Orrery was the sole author of the play text as it now stands. With such a view agrees F. W . Payne on p. xi in his unprinted University of London thesis, entitled The Dramatic Works of Roger Boyle, Earl of Orrery . . . Including an Annotated Text of the Unpublished "Zoroastres." Y e t there is much evidence, chirographic as well as artistic, against this view. The handwriting in the manuscript shows a considerable number of variations. The composition of the play was unquestionably accompanied by several changes of pen. Whether at any of these shifts the identity of the writer also changed is rather a moot question, for the evidence is not altogether decisive. Summers {op. cit., 29) would see a new hand beginning at A c t I I , 1. 440, but he would not infer any cessation of Orrery's authorship.

TEXTUAL

NOTES

929

T h o u g h there is an evident variation in the writing at this point, careful examination will convince t h a t no strong possibility of a different hand arises until A c t V , 1. 33. So far, at least, it appears certain that Orrery himself wrote the p l a y . T h e r e a f t e r several variations of penmanship are in evidence, notably a t 1. 42 and again at 1. 63. F r o m the latter line to the end of the p l a y the hand is indubitably the same and presents a v e r y wide variation f r o m all the earlier writing in the manuscript. Y e t , on chirographic grounds alone, it is doubtful if the closing hand could be proved conclusively the work of a fresh author. T h e stronger argument for a belief t h a t , at either 1. 33,1. 42, or 1. 63 of A c t V , Orrery's authorship ceased and one or several new writers later undertook to complete the piece, lies in the artistic developments subsequent to 1. 33. B e ginning here, the rimed couplets, in which the p l a y has been almost entirely composed, v e r y nearly disappear. Simultaneously with this change of verse occurs a perceptible degeneration in the style and the v o c a b u l a r y of the dialogue. T h e tone grows definitely more pedestrian and immature. W i t h i n the brief space of the remaining t w o hundred lines three new minor characters are introduced. One of them, " A r i e l l , " seems of sufficient importance to h a v e been listed b y name among the dramatis personne, if he h a d been conceived b y the original author. Finally, the dramatic action of this closing portion becomes almost inchoate. T h e impression conveyed is that the p l a y is being summarily concluded b y one w h o is not thoroughly conversant with w h a t w e n t before. T h e s e artistic points taken in conjunction with the extreme variation in the handwriting form strong evidence to substantiate the opinion t h a t , on one account or another, Orrery laid down his pen early in A c t V and never returned to finish his composition, and that later on some reader of the manuscript thought to turn p l a y w r i g h t and contributed a more h a s t y and clumsy end to The Tragedy of Zoroastres than a n y which Orrery, despite his dotage, would h a v e conceived. This, the first printed text of Zoroastres, carefully reproduces the unique Sloane manuscript except for such emendations as are listed in the textual notes or are described immediately hereafter. T h e punctuation of the manuscript is so extremely sparse and loose that reading of its text at first glance is often confusing. T o preserve its carelessness of punctuation b y a literal reproduction would be sheer pedantry. Hence the punctuation has been extensively revised and amplified. T h e resulting changes and additions h a v e been numerous, and y e t so purely mechanical t h a t notation has been deemed superfluous. T h e manuscript's spelling has been k e p t almost entirely unchanged, and the capitalization also, except in so far as the revision of punctuation required more use of capitals for sentence openings. T h e following trivial changes in spelling, however, h a v e been uniformly made throughout the text for the sake of clarity and are not set down in the notes : Sr > S i r ; the > thee; Is, is > Y e s , y e s ; & > a n d ; of > o f f . T h e abbreviated forms used for the speakers' names in the present text h a v e been k e p t consistent, whereas the manuscript shows some insignificant differences in the abbreviations. F o r greater clarity, the speeches of K i n g Zoroastres h a v e been a l w a y s denoted b y the abbreviation " Z o r . , " while the manuscript generally employs " K . " or " K i n g . " T h e t y p o g r a p h y of Zoroastres, as here printed, is designed to conform with the arrangements prevailing in the texts of the other " h e r o i c p l a y s " b y Orrery. T h e numbers in square brackets to the right of the present text indicate the page divisions of the Sloane manuscript.

T E X T U A L NOTES

93°

T h e following textual notes also a t t e m p t a detailed record of the corrections or additions to be observed in the manuscript so that a really complete picture of the original Zoroastres text m a y be possible. NOTES

Title-page : See descriptive comments under Text. The Persons Names: Ms. includes, toward the right margin, on the same line as this heading, the words "Represented b y . " : High Priest. Ms. shows this name added to the list a t a later date b y the same hand which is seen at the close of Act V. : Below " T h e Scaen Bactria," Ms. bears, in a hand similar to t h a t at the close of Act V, the words " W r i t t e n in 1676." Ms. t h e n > t h a n : Act 1,11.42,46,60, 70,95,152, 204. I I , 11.156, 282,353,463, 516, 537, 554. I I I , 11. 56,64,193,301,333,467. IV, 11.164, 250,311. V, Π.126,165. Act I : The scene, etc. These scene directions in the Ms. are clearly a revision of an earlier set and are written in the same h a n d which appears at the close of Act V. They are penned on a piece of paper pasted over the original writing. 1.6: m u s t f a l l (Ms. corrects " w o u l d " to " m u s t . " 33 ff : Ms. bears these two lines cancelled between 1. 33 and 1. 34: And willingly could I from scepters part Were I b u t thron'd in my Cyane's H e a r t ! 50-1: Daemolgoron (Ms.,Daemol: 68: Roome (Ms., Rome 101: 102: : in: 116 : 121 : 138-9: 139: 149: 178: 188: 191-2: 201: 217 ff :

Not stay (Ms. corrects " a w a y " to " n o t stay." B u t tread (Ms. corrects " A n d " to " B u t . " a n d m o r e (Ms. corrects " b u t " to " a n d . " dear Sir (Ms. corrects " d r e a d " to " d e a r . " This line in Ms. placed first after 1.114 and then cancelled there. they talk (Ms. corrects " doe t a l k " to " talk." Oroandes (Ms.,Oro: don't soe cruell (Ms. corrects " w h y will you " t o " d o n ' t . " it came (Ms. corrects " t h a t " t o " i t . " who's mock'd (Ms. corrects " B o l d " to " m o c k ' d . " imperious Beauty (Ms. corrects " W o e m a n " to " B e a u t y . " enter to Phylander (Ms., enter to him too nigh (Ms. corrects " s o e " to " t o o . " Ms. contains the following additional lines to Polynice's speech, lines which have been cancelled: Such Majesty you have, & graceful Air [hee bows And something too besides, that looks soe fair [apart T h a t sure from Royall bloud you took your birth Your Heart looks higher then ye Sons of E a r t h . 224: couldscarce (Ms. corrects " n o t " to "scarce." 262: doe not (Ms. corrects " d o n ' t " to " d o e n o t . "

T E X T U A L NOTES

93I

1. 278 ff: Ms. bears these four lines cancelled between 1. 278 and 1. 279: What Hero ere but victory did yeild When only Love did come into ye feild Not him his Venus, or tall Ships could save From that devouring Element, ye Grave. 349, 350: These two lines, written in the hand which appears at the close of Act V, are on a piece of paper only partially pasted over four lines that were originally part of the Ms. text. The first two of the four lines thus cancelled are identical with 11. 349, 350, while the other two read as follows : Act too soe like great Jove, that when I fall, I may bee's great as any of 'em all. 399 ff : Ms. bears between 1. 399 and 1. 400 the following line cancelled: M y father I'me resolv'd I will dethrone. Act I I : Song. (Ms., Song by Cupid I . 2 4 : m y S o u l (Ms. corrects " H e a r t " t o " S o u l . " 93-4: Enter King Zoroastres, Ambassadeur, etc. (Ms., Enter King, Ambassadour, etc. : with Attendants (Ms. corrects " G u a r d " to " A t t e n d a n t s . " 101-2: Exit (Ms., Exit Ambass. : To ye King, etc. (Ms. bears " C y a n e " cancelled between "Daemolgoron" and " P o l y n i c e , " and " J u l i a n a " cancelled after " P o l y nice." 128-9: and hollowing (Ms. corrects " w h o o p i n g " to "hollowing. " 129: M y infant cradle (Ms. corrects " c r a d l e " to "infant cradle." 131: brave Ally (Ms. corrects " Noble " to " brave. " 173: Y e t still (Ms. corrects " B u t " t o " Y e t . " 176: now my soul's (Ms. corrects " n o w and m y " to " n o w my. " 179: will drown (Ms. corrects " i s drown'd" to "will drown. " 209 ff: Ms. bears between 1. 209 and 1. 210 the following lines cancelled: Where my despair shall make mee act such things As shall astonish Hero's, frighten Kings. 246 : Noise nearer (Ms. omits " Noise." 293-4: To Juliana, Polynice, etc. (Ms., T o them [These two words subsequently added to the stage directions by the same hand which appears at the close of Act V] Enter King Zor: Daemolgoron, Phylander, Cyane, with Preists holding wands. The Scene Mar's Temple. A t ye foot of the Altar Tapers stand burning, with dishes of blood. The Divan or High Preist takes a dish of blood, and after ye ceremony speaks. 298: its altars (Ms. corrects " their " to "its. " 320: T h a t s h e (Ms. corrects " i t " to " s h e . " : her own (Ms. corrects " i t ' s " t o " h e r . " 344-5 : they speak hereafter (Ms. omits "hereafter. " 398: ne'reblush (Ms. corrects " n e v e r " t o " ne're." : dissembling man (Ms. corrects "ungratefull" to "dissembling." 420-1 : Enter King Zoroastres, Oroandes, Phylander, Daemolgoron (Ms., Enter King: Oro: Phy: Daem:

932

T E X T U A L NOTES

1. 436-7: For these stage directions Ms. reads, " S i x spirits rise and dance an antick dance. After ye dance ye scene shifts to an Orange Grove." : Enter King Zoroastres (Ms., enter King 442: But lest (Ms. corrects " A n d " to " B u t . " 443: Thanke jove (Ms. corrects " G o d " to " j o v e . " : youth within (Ms. corrects " p u r e " to " y o u t h . " 464: Godsfavour (Ms. corrects " t h e y " t o " G o d s . " 488: Hee'lerise (Ms. corrects " u p p " to "rise." 499: hisyear (Ms. corrects " y e " to " h i s . " A c t I I I , I.3: Favourdoe (Ms. corrects " s e r v i s e " to " F a v o u r . " S : Ms. bears " M a d a m " cancelled before " y o u . " 84: shall cheat (Ms. corrects " T r u m p " t o " c h e a t . " 92-3: Enter King Zoroastres, Polynice, etc. (Ms. omits "Zoroastres" and bears " J u l i a n a " cancelled between " K i n g " and " P o l y n i c e . " : A s the King enter s (Ms., as hee enters 102: heap'dGlorys (Ms.corrects"gather'd"to"heap'd." 103-4: Sits down (Ms., K . sits down 137: Speak (Ms. corrects " s a y " to " s p e a k . " 192: mee more has mov'd (Ms. corrects " h a s chang'd mee m o r e " to " m e e more has mov'd. " 193: vows before (Ms. corrects " v o w s could doe before" to " v o w s before." 197: (To Zor.) (Ms., to him 231-2 : Manet King Zoroastres solus (Ms., Manet King solus 247: th'rowly should (Ms. corrects " e v e r " to " t h ' r o w l y . " 317-8 : S caen ye Pallace. / Enter King Zoroastres (Ms., Enter King. Scaen ye Pallace. 322: howcold (Ms. corrects " s o e " to " h o w . " 323: herdamn'd (Ms. corrects " y o u r " to "her. " 416: T o y o u (Ms. corrects " t h e " t o " y o u . " 425: but Beauty (Ms. corrects " S u c h " to " b u t . " 430-1: Enter ye King Zoroastres (Ms. omits "Zoroastres." 494: thy crimes (Ms. corrects "faults " t o "crimes. " 509: conscience concerns (Ms. corrects " a r r e s t s " to "concerns. " Act I V , 1. 52: werethere (Ms. corrects " l e f t " to " t h e r e . " 82-3 : The spirits vanish (Ms., They vanish : Ms., on p. 50, before the stage direction " e x i t , " bears the following speech cancelled : K . Let monarcks learn to act by mee, if they Would have ye Devills [ ?] obey. 88-9 : Oroandes follows her (Ms. omits " Oroandes. 94-5: lead Polynice (Ms., lead her 100-1: pursues the savages (Ms., pursues them : chain'd after dancing (Ms. omits "after. " 109: dare you (Ms. corrects "dare doe you " t o "dare y o u . " 117-8 : fights the savages (Ms., fights them 124-5: pursues the savages (Ms., pursues them 130-1: The savages all descend (Ms., They all descend 132-3: Sits down (Ms., Sits down too

T E X T U A L NOTES

933

1. 142: I s there (Ms., Is their 231: did their own Temples (Ms. corrects " d i d all their temples" to ' ' did their own Temples. ' ' 245-6: Cyane ascends (Ms., she ascends 301-2: Phylander and Oroandes set down (Ms., They set down : Zoroastres solus (Ms., Manet Zoroastres 318: (To Daem.) (Ms. omits this direction. 320-1: Pointingίο Daemolgoron's gwaris. (Ms.,Daem. guards 321-2: As the spirits are a leading Daemolgoron and the guards of (Ms., As they are a leading them of 328-9: The spirits shake (Ms., They shake 33 1 ) 3 3 2 : These two lines in the Ms. were written first after 1. 328 and then cancelled at that point. 382: And the Tyrants sudden fate has decreed. (Ms., The T y r a n t s sudden fate & has decreed Act V, 1. 46-7: Ms. bears the phrase, " & hangs over his h e a d , " cancelled after "descends. " 74: Exit Waiter. (Ms. omits this direction. 114-5: the spirits descend (Ms., they descend : King Zoroastres (Ms. omits " King. " : throne. He speaks (Ms., throne who speaks 117-8: The Guard bring Daemolgoron in (Ms., They bring him in 119-20: and singing. (Ms., and singing this song 139: r i s e u p (Ms. corrects " c h e a r " to " r i s e . " 143 : {Spoken) (Ms. omits this direction. 147: even hand (Ms. corrects " e q u a l l " to "even. " 192: Ms. bears a t the end of the line the words, "alas I am living," cancelled. 193: b u t s t a y (Ms. corrects " l i v e " to " s t a y . " 217: f o r s o e g r e a t (Ms. corrects " s u c h " t o " soe g r e a t . " 218: Come then, Great Prince, (Ms. corrects " P h y l a n d e r " to " G r e a t Prince." 10. T H E T R A G E D Y OF KING SAUL TEXT

The Tragedy of King Saul, after remaining in manuscript for at least a quarter of a century, was first published early in 1703 as a quarto. The play was just once thereafter reprinted, namely, a duodecimo bearing the date of 1739. The republication during the latter year may have been inspired by the appearance of the Orrery collected edition in octavo, if indeed the publisher of The Tragedy of King Saul suspected any connection in authorship. The duodecimo is a very much re-edited text, as the many variations in punctuation, the alterations in scene headings, the addition of a dramatis personae, etc., evidence. M a n y of its emendations, therefore, have been incorporated into the present text, but the latter nevertheless is based primarily on the 1703 quarto and reproduces its typography (with some exceptions), its spelling, and its capitalization. Both the 1703 and 1739 editions of The Tragedy of King Saul display much carelessness in punctuation, which the present text corrects to the minim u m t h a t would permit of proper ease in reading. All departures from the 1703

934

TEXTUAL

NOTES

text h a v e been carefully listed in the following notes, along with the corresponding readings of the duodecimo. Other n o t e w o r t h y verbal differences in the edition of 1739, almost all printer's errors, h a v e also been included. T h e page divisions of the 1703 quarto appear in the right margin of the present text. NOTES

T h e Epistle D e d i c a t o r y : (1739 omits the epistle entirely. T h e Preface, 1. 8 : of it ( 1 7 0 3 , 1 7 3 9 , of it, 14: J o n a t h a n ( 1 7 0 3 , 1 7 3 9 , Jonathan, 15: Remembrance (1703,1739,Remembrance, T h e Prologue, 1 . 1 1 : Sternhold, ( 1 7 0 3 , 1 7 3 9 , Sternhold 12: Hopkins, ( 1 7 0 3 , 1 7 3 9 , H o p k i n s 2y. Mind, (1703,1739, Mind 24: And, . . . wronging, ( 1 7 0 3 , 1 7 3 9 , And . . . wronging 30: Eye; (1703,1739, Eye. 32: sake; (1703,1739,sake. D r a m a t i s Personae: 1703 omits dramatis personae entirely. T h e list here printed reproduces in every detail t h a t of 1739. T h e P l a y T i t l e : 1703 omits the title, while 1739 reads "THE / T R A G E D Y / OF / K I N G S A U L . " T h e title here printed reproduces the running title to be f o u n d a t the t o p of e v e r y page in the 1703 quarto. A c t I , Scene 1 : Enter (1703 omits this direction. (1739, Enter 1. 2: ere ( 1 7 0 3 , 1 7 3 9 , e're 16: W h i c h , (1703, W h i c h (1739, W h i c h , 19: Supplies; (1703,1739,Supplies, 20: Enemies, ( 1 7 0 3 , 1 7 3 9 , E n e m i e s ; 22: f e a r : (1703, fear. (1739, f e a r : 5 4 - 5 : Enter~E\iab (1739 omits this direction. 81: L e t ( 1 7 0 3 , 1 7 3 9 , let 83 to 94 inclusive: ( 1 7 0 3 , 1 7 3 9 omit quotation marks. 1 1 0 : more! Y o u ( 1 7 0 3 , 1 7 3 9 , more, y o u 1 1 3 : A n d , n a k e d , ( 1 7 0 3 , 1 7 3 9 , A n d naked 1 1 4 : S t a y i n g , (1703, S t a y i n g (1739, S t a y i n g , 1 2 7 : loss, (1703, loss (1739, Loss, 130: G o , ( 1 7 0 3 , 1 7 3 9 , G o 136: these . . . inflame; ( 1 7 0 3 , 1 7 3 9 , these, . . . inflame, 1 3 7 - 8 : EnterDoegalone. (1703, Doeg alone. (1739, Enter D o e g a l o n e . 139: A n d , smiling, . . . " N o w , Doeg, rise." (1703, 1739, A n d smiling . . . N o w Doeg rise: 140: free; ( 1 7 0 3 , 1 7 3 9 , f r e e , 1 5 6 - 7 : Exit (1739 omits this direction. : Enter D a v i d , Eliab. (1703, David, E l i a b (1739, Enter D a v i d , Eliab 159: sphere; ( 1 7 0 3 , 1 7 3 9 , sphere, 202-3: Enter D o e g alone. (1703, Doeg alone. (1739, Enter D o e g alone. 203: conspire. (1703, conspire (1739, conspire, 2 1 1 : Sir; . . . C o u r t , (1703, Sir, . . . C o u r t (1739, Sir, . . . C o u r t , 2x2: hope, ( 1 7 0 3 , h o p e (1739,hope, 214: were I, (1703, were I (1739, were I , 227: W h i c h , ( 1 7 0 3 , 1 7 3 9 , W h i c h

T E X T U A L NOTES I.236: 250: 286: 288: 290: 314: 316: 325-6: 329: 330: 334: 335: 338: 353-4: 358: 359: 360: 364: 371: 371-2:

cannotbe; (1703,1739, cannot be, give; (1703,1739, give, slight; (1703,1739, slight, know; (1703,1739, know, Courage, . . . back; (1703, 1739, Courage . . . back, on; (1703,0η, (i739,on; use; (1703,1739,use, Enter Adriel, Doeg. (1703, Adriel, Doeg. (1739, Enter Doeg. live, possest? ( 1703,livepossest! (1739,live,possest! Tho'I, (1703,1739,Tho'I this, (1703,1739, this T o f i g h t (1739, Go fight decline; (1793,1739, decline, (1703,1739 read " S C E N E , A Field." fall! (1703,1739,fall, all! (1703,1739,all. Enemy; (1703,1739, Enemy, repair; (1703,1739, repair, self, (1703, self (1739, self, (1703,1739, S C E N E , The Tent Royal.

935

Adriel,

: Enter Saul, etc. (1703, Saul, etc. (1739, Enter Saul, etc. 383-4: Enter Jonathan, etc. (1703, Jonathan, etc. (1739, Enter Jonathan, etc. 390: me; (1703, me, (1739, me; 392: Valour, (1703, Valour (1739,Valour, 401: King, (1703,1739, King 409: are, (1703,1739, are 413-4: Exeunt Saul, Adr., Do., Abn., and Eli. (1703, Exeunt Jon. and Da. (1739, Exit Sa. D a . go. 414: ere (1703,1739, e're 414-5: ΤοΌ&ν. going. (1703 omits this direction. (1739, To D a . 425: who, (1703,who (1739,who, 447: Virtues, . . . want, (1703, Virtues . . . want (1739, Virtues, . . . want, 451: Heart, (1703,1739, Heart — 453: refuse; (1703,1739, refuse, 454: Souls (1703,1739, Souls, 458: T h a t , (1703,That (1739,That, Act II, Scene 1 : (1703,1739, S C E N E , A Room of State. : Enter Michol, etc. (1703, Michol, etc. (1739, Enter Michol, etc. 1. 18: Who, (1703,1739, Who 19: I

37: 49: 53: 61: 64: 67: 70:

(1703,1,

(1739,1

Michol, (1703, Michol (1739, Michol, Miser, (1703, Miser (1739 Miser, about, (1703,1739,about knew; (1703, knew, (1739, knew; give, (1703,1739,give; grown; (1703,1739, grown, Which, (1703,1739, Which

TEXTUAL

936

NOTES

1. 7 1 : 83: 85: 91: 92: 96: 102: 103: 104:

disagree, (1703, disagree; (1739, disagree, come; (1703,1739, come, more; (1703,more, (1739,more; now? (1703,1739, now! Madam, (1703,1739, Madam us, (1703,1739, us; Fear (1703, Fear. (1739, Fear Y o u t h (1703,1739, Youth, Army over-throw. (1703, Army did over-throw. (1739, Army overthrow n o : When,lo, (1703,1739,Whenlo 115: put, (1703,1739, put — 132: along, (1703,along (1739,along, 133: do, (1703,1739,do: 158-9: Enter Adriel, Merab. (1703, Adriel, Merab. (1739, Enter Adriel, Merab. 163: promis'd, (1703,1739, promis'd 164: go, (1703, go. (1739, go: 167: ere (1703,1739, e'er 1 7 1 - 2 : To Adr. going. (1703 omits this direction. (1739, To Adriel going. 172-3: Exit Adr. (1703 reads "Exit" and places after 1. 170. (1739 omits any direction. 173: State, (1703,State (1739,State, 175: vain; (1703,1739, vain, 185-6: (1703,1739, S C E N E , The Palace. : Trumpets, (1703,1739¡Trumpets ¡Jonathan, (1703,1739, Jonathan 186: wone; (1703,1739,wone, 192: kilPd; (1703,1739,kill'd, 193: slew; (1703,1739, slew, 195-6: Stage; (1703,1739, Stage, 196: less (1703,1739,less! 197: Address? (1703,1739, Address! 202: either, (1703, either; (1739, either : despise (1703, despise, (1739, despise 205-6: Exit Mer. and all the Ladies. (1703, 1739, Exit, And all the Ladies. 212 : kill'd ; (1703,1739, kill'd, 213: slew; (1703,1739, slew, 215-6: David, bowing, retire; (1703,1739, David bowing retir'd; 220: N a y , (1703, N a y (1739, N a y , 225: Fame, (1703,Fame (1739,Fame, 230: ere (1703,1739, e'er 233: Smiling . . . dangerous (1703, Smiling, . . . dangerous, Smiling, . . . dangerous 235-6: Enter Jon., etc. (1703, Jon., etc. (1739, Enter Jon., etc. 240: time, (1703, time (1739, time, 246: find, (1703, find (1739, find, 250: Love, (1703, Love (1739, Love, 266: free; (1703,1739, free, 269: impart, (1703,1739, impart;

(1739,

T E X T U A L NOTES

937

1 . 2 7 1 : Joy, (1703,1739 J o y 276: owe; (1703,owe, (1739, owe; 283: greater (1703,1739, greater, 290-1: Doeg enters. (1703, Doeg Enters. (1739, Enter Doeg. 297: have; (1703,1739, have, 3 0 3 : 0 η ; (1703,1739,0η, 307: Sun-beams, (1703,1739,Sun-beams 319: commit; (1703,1739, commit, 322-3: £«/erMerab. (1703, M er ab. (1739, Enter Mer ab. 330-1: Adriel enters. (1703 reads "Adriel E n t e r s " and places after 1. 331. (1739 reads "Adriel enters" and places after 1. 331. 332: averse, (1703,1739, averse. 334: you mine by promise (1703, you my mine b y promise (1739, you, my, mine, by Promise 339-40: (1703, Saul. A Chamber of Slate. (1739, S C E N E , A Chamber of State. / Enter Saul. 350: undone, (1703,1739, undoen, 352: conceal'd; (1703,1739,conceal'd, 353: Hurt (1703,1739, Hurt, 354: comes! M y (1703, comes my (1739, comes; my : appear; (1703,1739, appear, 356: Son! Y o u . . . brought (1703,1739, Son,you . . . brought, 361: favours, (1703,1739, favours 365: claim, (1703,claim. (1739,claim: 376: Which, (1703,1739, Which 382-3: Aside. (1703 places this direction after 1. 383. (1739 places this direction after 1. 387. 385: so, (1703,so (1739,so, 390: care; (1703,1739, care, 391 : freely, Son; (1703,1739, freely Son, 392: find (1703,1739, find, 394: blind! (1703,1739,blind? 398: (1739 omits this line. 399: Son; (1703,1739,Son, 414-5 : Exit David. (1703,1739 read "Exit" and place after 1. 413. 423: unjust, (1703, unjust (1739, unjust, 427: Than (1703,Then (1739,Than 429-30: Enter Jonathan, David. (1703, Jonathan, David. (1739, Enter Jonathan, David. 437: Michol, (1703, Michol (1739, Michol, 438: declare, . . . Dow'r, (1703,1739,declare . . . Dow'r 440: stay; (1703,1739, stay, 445: first, Sir, (1703, first Sir (1739, first, Sir, 447: Farewel, my Lord! (1703, Farewel my Lord, (1739, Farewel, my Lord, 455-6: Enter Doeg alone. (1703, Doeg. (1739, Enter Doeg alone. 461: disgrace; (1703,1739, disgrace. A c t I I I , Scene I : Torches; (1703,1739, Torches, : Mustek; (170 3, Mustek, (1739, Mustek; : veyl'd, (1703,2leyl'd (1739, veyl'd,

938

TEXTUAL

NOTES

Act III, Scene I: Torches; (1703, Torches, (1739, Torches; : Adriel sits between (1703,1739, Adriel between 1. i : 0 , (1703,1739,0 4: Love, (1703,1739, Love; 7-8: sings. (1703,1739, sings — 18-9 : M er ab (1703,1739, Merab, : Writing; (1703,1739, Writing, 20-1: this while. (1703, this while. (1739, the while. : enters, (1703,1739, enters 22-3: dance; Which, being ended, (1703, dance. Which being ended (1739, dance; which being ended, : Merab, (1703, Merab (1739, Merab, : Enter Eliab alone. (1703, Eliab alone. (1739, Enter Eliab alone. 23: be; (1703,1739, be, 25: Fav'rites, . . . go, (1703, Fav'rites . . . go (1739, Fav'rites, . . . go, 26: so: (1703,so. (1739,so: 32: Cozen, (1703, Cozen (1739, Cozen, 34: not (1703,1739, not, 40: wait; (1703,1739, wait, 45: were, (1703,were (1739, were, 47: ours (1703,1739, ours: 48: o'repowers (1703, o'repowers. (1739, o'repowers 55: fools, (1703,1739, fools 56-7: Shouts within. (1703 reads "Shouts" and places after 1. 57. (1739 reads "Shouts" and places after 1. 56. 57: import; (1703,1739,import, 60-1: (1703, Saul . . . David, A Room of State. (1739, S C E N E , A Room of State. / Enter Saul, etc. 61-2: Aside. (i739placesafterl. 65. 62: Which, . . . ask'd, (1703, Which . . . ask'd (1739, Which, . . . ask'd, 71: run, (1703, run; (1739, run, 73: hast; (1703, hast, (1739, hast; 74: Y e t , . . . all, (1703,1739 Y e t . . . all 82: esteem; (1703,1739,esteem. 83: Devotion (1703,1739, Devotion, 84: God, the Sun, (1703,1739, God the Sun: 91: you, (1703, you (1739, you, 93: pleasure (1703,1739, pleasure, 94-5: (1703, Saul, in his Chamber of State. (1739, S C E N E , Enter Saul in his Chamber of State. 102: o're (1703,1739,o're, 107,108: (1739 omits these two lines and places "Exit" after 1.106. 108-9: Jonathan enters, and, (1703, Jonathan enters; and (1739, Enter Jonathan, and : angrily, says: (1703,1739, angrily says —• 117: Hate (1703,1739, Hate? 118: Great? (1703,1739, Great. 130,131 : (1739 assigns these two lines to Jon. by mistake.

TEXTUAL

NOTES

939

1. 130: hast; (1703,1739, hast, 1 3 2 : 0 , (1703,1739,0 : yet, Sir, (1703, yet Sir (1739, yet, Sir, 134: Then, (1703,1739, Then 136: News, (1703,1739, News — 147: Murmurings, (1703,1739, Murmurings; 154: still, (1703,1739, still 155: Fear, (1703,1739, Fear. 158: thought, (1703,1739, thought 166: sight; (1703,1739, sight, 168: Eyes, but, . . . seen, (1703, Eyes; but . . . seen (1739, Eyes; but . . . seen, 174: go; (1703,1739, go, : hast: (1703, hast, (1739, hast; 179-80: (1703, Saul Guards. (1739, Enter Saul and his Guards. 180: gone; (1703, gone, (1739, gone; 186: blush't, (i703,blusht (1739,blusht, 187: Leave, but, . . . Thought, (1703, 1739, Leave b u t . . . Thought 188: time! . . . strait; (1703,1739, time; . . . strait, 190: Lodgings! Those . . . suspect; (1703, 1739, Lodgings, those . . . suspect, 191: Head, (1703,1739, Head — 192-3: (1703, Jonathan, David, Michol, in her Chamber. (1739, SCENE, Enter Jonathan, David to Michol in her Chamber. 205: more; (1703,1739,more, 206 : betray'd ! (1703,1739, betray'd, 211: free; (1703,1739,free, 212: Haste, Sir, (1703, Haste Sir (1739, Haste, Sir, 215-6: (1703,1739 place this direction after 1. 216. 223: delay; (1703,1739, delay, 230-1 : (1703, Saul. (1739, SCENE, Enter Saul in his Chamber of State. 231: Now,Saul, (1703, Now Saul (1739, Now Saul, 237: Crown, (1703,1739, Crown 238: prevent: (1703,prevent. (1739,prevent: 239: For (1703,1739, For, 251: more (1703,1739, more, 252: Thanthat, (1703,1739,Than,that : fled but just before. (1739, but just fled before. 255: try, (1703,try (1739,try, 257: Town; (1703,1739,Town, 260-1: (1703,1739 place this direction after 1. 261. 269: me; (1703,1739,me, 285: conclude; (1703,1739,conclude, 287: Crime? (1703,1739,Crime, 288-9: (1703, Enter Michol, A Chamber. (1739, SCENE, A Chamber, Enter Michol. 294: retain, (1703,1739,retain: 296-7: (1739 places this direction after 1. 297 and reads "Speaks, seeing Merab Enter." 314: scorn; (1703,1739, scorn,

940

T E X T U A L NOTES

I.339: deter; (1703,1739,deter, 340-1: Enter Jonathan, etc. (1703, Jonathan, etc. (1739, Enter Jonathan, etc. 341-2: To Eli. (1703 omits this direction. (1739, To Eli. 344: ere (1703,1739, e're 359: my Friends, (1703, my Friend's, (1739, my Friends, 359-60: Embracing them. (1703,1739, Embra. them. Act I V , Scene I : (1703,1739, S C E N E , Gibeah. : Enter Doeg return'd. (1703, Doeg return'd. (1739, Enter Doeg return'd. 1. 1: Fortune, . . . thee; (1703,1739, Fortune . . . thee, 5: Fav'rite,David, (1703, Fav'riteDavid (1739, Fav'riteDavid, 8: decline; (1703,1739, decline. 9: exhale, (1703,1739, exhale 10: than (1703,1739, then : ascended, (1703,1739, ascended. 11: occasion, (1703,1739, occasion 12-13 : (1703, Saul and Adriel Enter. (1739, Enter Saul and Adriel. 21: him I hate (1703,1739, him, I hate, 25-6: ApproachingSaul. (1703,1739omit this direction. 27: some (1703,some, (1739,some 36: Lord, (1703,1739, Lord 37 : Forbid, Just Heav'n, (1703,1739, Forbid Just Heav'n 42: Content, (1703, Content; (1739, Content, 43: R e p o r t . . . Ear (1703, Report, . . . Ear; (1739, Report . . . Ear 51: knew, (1703, knew (1739, knew, 56: thine, (1703,1739,thine — 58: deserve, (1703,1739,deserve. 61: be; (1703,1739, be, 64: Priest, (1703,1739, Priest — 67: err'd, . . . incense; (1703, err'd . . . incense, (1739, err'd, . . . incense, 68: Offence, (1703,1739, Offence. 69: just (1703, just; (1739, just 80-1 : Enter Azuba, Michol. (1703, Azuba, Michol. (1739, Enter Azuba, Michol. 83: doubt, (1703, doubt (1739, doubt, 86: Is, . . . good; (1703,1739,Is . . . good, 93: Friend (1703,1739, Friend, 99: sight; (1703,1739, sight, 101: Night, (1703,1739, Night. 108: deplore; (1703,1739, deplore, HI : find, (1703,1739, find: 117-8: Enter David, etc. (1703, David, etc. (1739, Enter David, etc. 118: Welcome, (1703,1739, Welcome 125: Beauteous (i703,Beateous (1739, Beauteous 130: Fear; (1703,1739, Fear, 132: Crowd, (1703, Crowd (1739, crowd, 135: Rage, (1703,1739, Rage. 137-8: Souldier (1703, Soulder (1739, Souldier

T E X T U A L NOTES 1. 142: on! . . . despise; (1703, 1739, o n , . . . despise, 145-6: Dorba discover'd in the Cave. (1703, Doria in it. in it. 147: Breast; (1703, Breast, (1739, Breast; 154: return'd. (1703,1739,return'd —

941 (1739, Dorba

iSS: 163: 164: 165:

Say, . . . say, (1703, Say . . . say (1739, Say, . . . say Place; (1703,1739,Place, pace, (1703,1739, pace. Y e t , ere . . . Night, . . . him; (1703, 1739, Y e t e're . . . N i g h t . . . him, . 167: Desert, (1703,1739, Desert 169: fly, (1703,1739, fly. 170: When,lo, (1703,1739,Whenlo : Host, (1703, Host (1739, Host, 171 : Nob (1703,1739, Nob, 181: decreed, (1703,1739, decreed. 182: And, . . . Fate, (1703,1739, And . . . Fate 187-8: on the High-Priest, (1703,17 39, on the High-Priest : says: (1703,1739,says. 188: Enough! Thou (1703,1739,Enough,thou 191: ills, (1703,1739,ills — 192-3: (1703, They go out of the Cave and the S C E N E changes to a Field. / David, etc. (1739, They go out of the Cave. / S C E N E , Changes to a Field. / Enter David, etc. 195: caus'd, (1703,1739, caus'd 197: Pow'r, . . . aid; (1703,1739,Pow'r . . . aid, 198: themselves, afraid, (1703,1739, themselves afraid. 201: go; (1703,1739, go, 202: do, (1703,1739, do; 203: side (1703,1739, side, 214: Ere (1703,1739, E're 219: near; (1703,1739, near, 227: lost, (1703, lost (1739, lost, 229: hate; (1703,1739, hate, 233: flight; (1703,1739, flight, 236: design'd: (i703,design'd. (i739,design'd: 238-9: Exeunt. (170¡,Exeunut. (1739,Exeunt. : Enter Saul, etc. (1703, Saul, etc. (1739, Enter Saul, etc. 245: pitch'd. (1703,1739, pitch'd — 247-8: appear; (1703,1739,appear, : one of the clouds, enter (1703,1739, one of them, Enter 248: Clouds (1703,1739, Clouds, 2 s s : Souldiers, (1703,1739, Souldiers 256: obey, (1703,1739,obey. 265: W a y ; (1703,Way, (1739,Way. : (1739 adds the direction " To David. " 266-7: Exeunt. (1703 omits this direction. (1739, Exeunt. : sleeping in (1703, sleep-/ in (1739, sleeping in : asleep; (1703, asleep, (1739, asleep; 267: possest; (1703,1739, possest,

942 1. 272: 284: 286: 294: 304: 309: 318: 319: 322: 331: 334: 335-6: 337: 340: 341: 345: 352: 353: 354: 355: 356: 357: 358: 359: 360: 363-4: 368: 371-2: : 378-9: 385: 395: 397: 403: 404: 405: 406: 411: 4r3: 419: 420: 423: 425: 431: 432: 435: 437: 441:

T E X T U A L NOTES more, (1703,1739,more Fear, (1703,1739, Fear? hide? (1703,1739, hide. Government, (1703, Government. (1739, Government: Forbear, Abishai, (1703,1739, ForbearAhishai mistake. (1703,1739, mistake — Souls! (1703,1739, Souls; wake, (1703,wake (1739,wake, speak! (1703,1739, speak, own, (1703,1739, own. withstand; (1703,1739, withstand, and,missingit, (17 03, and missing it (17 39, and missing it, Speak, Traitors! Who (1703,1739, speak Traitors, who Say . . . proceed. (1703,1739,say . . . proceed? Deed, (1703,1739, Deed. enter'd, (1703,1739, enter'd — Sir, (1703,1739, Sir told (1703,told, — (1739,told mine, (1703, mine (1739, mine, Arms, (1703,1739, Arms; Who, . . . him, (1703, Who . . . him (1739, Who . . . him, came, (1703,1739,came; knew (1703, knew, (1739,knew Present, (1703, Present (1739, Present, took (1703, too (1739, took says: (1703,1739,says — Go, (1703, Go (1739, Go, Aside. (1739 omits this direction and instead reads "Going." Exit. (1703 places this direction opposite to 1. 372. (1739 omits the direction. Enter David, etc. (1703, David, etc. (1739, Enter David, etc. me; (1703,me, (1739,me; great; (1703,1739, great, Tent; (1703,1739, Tent, Guard (1703,1739, Guard, fear'd, (1703,1739, fear'd. Who, (1703,1739, Who Fall; (1703,1739, Fall. be, (1703,1739, be Hold, . . . prize; (1703,1739, Hold . . . prize, stay; (1703,1739, stay, Court; (1703,1739, Court, not, (r703,1739, not more. You (1703, more you (1739, more, you dispute; (1703,1739, dispute, confute. (1703,1739, confute? Enemy; (1703,1739,Enemy, part; (1703,1739, part, are, (1703,1739, are

T E X T U A L NOTES

943

Act V, Scene I : (1703, S C E N E , a Mountain near the Camp. /Saul and Doeg in disguise. (1739, S C E N E , a Mountain near the Camp. / Enter Saul and Doeg in disguise. 1. 2 high; (1703,1739, high. 4 there; (1703,1739, there. 12 Thunders, . . . Clouds, (1703,1739, Thunders . . . Clouds 16 ascend, (1703,1739, ascend? 20 Air, (1703,1739, Air. 25 descry; (1703,1739, descry, 28 her: (1703,1739, her. 33 impart (1703,1739, impart, 38 o'recome. (i703,or'ecome. (1739, o'recome. 38-9 discover'd; (1703,17 39, discover'd, asleep; (1703,1739,asleep, 39 Rest; (1703,1739, Rest, 41 done; (1703,1739 ,done, gone; ( 1703, gone, (1739, gone; 45 Rise, (1703,1739, Rise 46 Skies, (1703, Skies (1739, Skies, 47-8 Wand, (1703,1739, Wand 49 Fear; (1703, Fear, (1739, Fear; 54 Eyes (1703,1739, Eyes, 58 comes. (1703,1739, comes — 59 Begone, my Spirit, (1703,1739, Begone my Spirit 60-1 Fire; . . . in; (1703,1739,Fire, . . . in, 61 know, (1703, know (1739 ,know, 66 cornei (1703,1739» come. 67 arise! T h y (1703,1739,arise,thy 67-8 To (1703,1739 ,to 69 Forbear, my Son, (1703, Forbear my Son (1739, Forbear m y Son, death; (1703,1739, death, 69-70 She (1703,1739 ,she 73 pains, . . . Fear; (1703,1739, pains; . . . Fear, 75 Say . . . make. (1703,1739, Say, . . . make? 76 form (1703,1739, form, 79 Fear; . . . receive; (1703,1739, Fear, . . . receive, 99 near; (1703,1739, near, 103 Farewell! (1703, Farewell (1739, Farewell, 105 then, . . . Ghost, (1703,1739, then . . . Ghost 106 Come, . . . last, (1703, Come . . . last (1739, Come, . . . last, 108 date; (1703,1739, date, 114-5 threeSpirits (1703, four Spirits (1739, three Spirits 117,118 (1703 prints the speaker as " 3 . Sp.", but 1739 corrects to " 2 Sp." 117 go, (1703, go (173 9, go, 119 (1703 prints the speaker as " 2. Sp.," but 1739 corrects to " 3 Sp." 123-4 Dorba says: (1703, 1739 omit these words. 124 hence, (1703,1739, hence 126-7 they bear her away in it. / [ S C E N E I I I . ] S C E N E changes to the Camp. (1703, they hear her away in it, and the S C E N E changes to the Camp. (1739, they bear her away in it. / S C E N E , Changes to the Camp.

944

TEXTUAL

NOTES

1. 126-7 : Enter Jonathan, etc. (1703, Jonathan, etc. (1739, Enter Jonathan, etc. 135: express (1703,1739,express, 136: Courages, (1703,1739, Courages. 137: slow. (1703,1739, slow, 142 : Voice cry, " Come a w a y . " (1703,1739, Voice, cry, Come away. 143: Starting, (1703, Starting (1739, Starting, 144: out, (1703,1739, out. 145: Y e t . . . see (1703,1739, Y e t , . . . see, 146: White, (1703,1739, White 148: knew; (1703,knew, (1739,knew; 152: went, (1703,1738,went. 154: " C o m e a w a y . " (1703,1739 omit the quotation marks. 155: King! He . . . disturb'd. (1703,1739, King, he . . . disturb'd — 160: dread? (1703,1739, dread, 167: giv'n, (1703,1739, giv'n. 170: Springs; (1703,1739, Springs, 171 : Kings, (1703,1739, Kings. 174: plac'd; (1703,1739, plac'd, 177-8: Exeunt. (1703,Eexunt. (1739,Exeunt. : continu'd, enter Saul, etc. (1703,1739, continu'd, / Enter Saul, etc. 185-6: (1703, Adriel enters . . . / S C E N E a Field. (1739, S C E N E , A Field. / Adriel enters . . . 186: withstood; (1703,1739, withstood, 187-8: falls; (1703,1739Jails, : dragging him off. / S C E N E V. A Oesart. / Several Israelites . . . Then enter Saul . . . (1703, dragging him off. Several Israelites / . . . Then enter S a u l . . . / S C E N E a Desart. (1739, dragging him off. Several Israelites . . . / S C E N E , A Desart. / Enter Saul . . . 203: fly, (1703,1739, fly 208: thou, David, (1703,1739, thou David 209: resign; (1703,1739, resign, 215: live; (1703,1739, live, 217: prevent, (1703,1739, prevent. 223: o'rethrown; (1703,1739, o'rethrown, 230: dead; (1703,1739, dead, 232: Father, (1703,1739, Father; 241: And, . . . deprest, (1703,1739, And . . . deprest 242-3 -.Starts, (1703,1739, Starts 243: small. . . . Wound! (1703,1739, small,. . . Wound, 244: good (1703,1739, good, 246: Grief; (1703,1739, Grief, 249: Death (1703,1739, Death, 252: it, (1703,1739,1t 261: destroy'd! (1703,1739, destroy'd, 264-5: (1703, Enter Aimer and Officer. / S C E N E a Field. (1739, S C E N E , A Field. / Enter Abner and Officer. 265: Foes; (1703,1739,Foes, 266: lose, (1703,1739, lose. 267: dead. (1703,1739, dead,

T E X T U A L NOTES

945

1. 269: 271: 275: 283-4:

remain; (1703,1739, remain, go; (1703,1739, go, his, (1703,1739, his. (1703, Merab with . ../ S C E N E Gibeah. (1739, S C E N E , Gibeah. / Enter Merab with . . . 288: Commission, (1703,1739, Commission — 289: show; (1703,1739, show, 290-1 : Enter David to Michol (1703, David. Michol (1739, Enter David, Michol 299: 301: 310: 323: 328-9: 330: 335: 337: 337-8: 339: 346:

mine; (1703,1739, mine, L u t e s , . . . alike, (1703, Lutes . . . alike (1739, Lutes . . . alike, But, . . . all, (1703,1739, B u t . . . all repaire; (1703,1739, repaire, "Long . . . D a v i d . " (1703,1739 omit the quotation marks. Fear, (1703,1739, Fear? Saul, . . . Name, (1703,1739, Saul . . . Name due, (1703,due (1739,due, Crown, (1703,1739,Crown D a y (1703,1739, D a y , Fame! (1703,1739, Fame.

353: Go, . . . him. Sacrifice . . . Saul; (1703, 1739, Go . . . him, sacrifice . . . Saul, 353-4: (1703,1739, To Abishai who kills him. 355: who, . . . blood, (1703,1739, who . . . blood 358: News, (1703,1739, News 358-9: (1703,1739 bear no direction at this line, but indicate this stage business at 1. 353-4. 364: Prince! (1703,1739, Prince — 365: forgive; (1703,1739, forgive, 366: believe, (1703,1739, believe. 367: grown, (1703,1739, grown 375: Princess, (1703,1739, Princess 377: distract'd, (1703,1739,distract'd 379: Azuba, . . . Fate, (1703, Azuba . . . Fate (1739, Azuba . . . Fate, 380: sate, (1703,1739, sate. 381: vain; (1703,1739, vain, 387: proceed; (1703,1739, proceed, 393-4: Officers. He (1703,1739, Officers, he 400: Rise, . . . Sir. (1703,1739, Rise . . . Sir — 401: did, . . . King, (1703, did . . . King (1739, did . . . King, 403: Commend; (1703,1739, Commend, 415: own. (1703,1739,own, 426: fillst, (1703,1739, fillst 428: canst, . . . above, (1703,canst. . . above (1739,canst. . . above, 433: so, (1703,1739, so — The Epilogue: (1703, 1739 print this epilogue immediately following the prologue and hence before the text of the play. 1. 2: Loose, (1703,1739, Loose; 4: Chains; (1703,1739, Chains.

T E X T U A L NOTES io: 12: 18: 25 : 32:

shine; (1703,1739, shine. Blood; (1703,1739, Blood. Wife, (1703,1739, Wife. it, (1703,1739,it Delight (1703,1739, Delight,

APPENDICES

APPENDIX A NOTES ON ROGER

BOYLE, FIRST E A R L OF

B Y JOHN BOYLE, FIFTH E A R L OF

ORRERY,

ORRERY

[The following notes on the life and literary work of Roger Boyle, first Earl of Orrery, in the hand of his great-grandson, John Boyle, fifth Earl of Orrery, are contained in the front of an interleaved volume of Roger Boyle's Herod the Great (1694), which originally was John Boyle's personal copy, and is now in the Harvard University Library (Ms. Eng. 218. 13Γ), along with numerous letters and papers of John Boyle. The writing of the notes apparently was occasioned by the reading of Herod the Great, for at the end of the text John Boyle's hand has penned, " I read this play anno 1729," and the notes were begun in the same year. At that time John Boyle was twenty-two years old. All the relevant portions of this document, which has remained completely unnoted, are here reproduced exactly as they were written down, even with the page divisions indicated.] JOHN BOYLE X X X

1729

This play, Herod the great, was written by my great Grandfather, Roger Earl of Orrery. It was never acted, but came out in Print in the year 1694. The Custom of the Times in which He liv'd, made it as it were, necessary to write in Hcroick Rhime, by which unlucky & unnatural Fashion, ίβϊ » «θ» auch, many Noble Thoughts in this & in his other Plays are cramp't and restrain'd. The story is taken out of Josephus, and Herod's Life in Caussin's holy Court. Mr. Fenton 1 has with great success made a Play from this story: It met with the Applause it deserv'd, and is now in great Favour with the Town. He gave to it the Name of Mariamne. In the Lives of the Poets Lord Orrery bears this Character. A Nobleman of a distinguish'd Character both in Arts & Arms & also as a Poet & a Patron. He has publish'd six Plays in Heroick Verse, wherein true English Courage is exactly delineated, & Morality and Virtue truly illustrated. Lord Orrery's atfeisdeath left a Tragedy call'd Altemira unfinioh'd which has alter'd since been revis'd, & fitted fer %fee Stage Λ by my Father Charles Earl of Orrery. [2] In a Dedication to the Rival Ladies, I find Mr. Dryden complimenting It is Lord Orrery upon his Plays in Verse & commending that Manner of writing; Λ that No Wonder Dryden applauded a Method he had so long us'd, but if He could have severe /^be en awak'd out of this Errour, that moat exocUcnt Satyr of the D of Buck* *TheReingham's must have shew'd him how much pains he might have escap'd, by hearsal. making his People speak less like Heroes and demi-Gods & more like Men. One 1 Elijah Fenton (1683-1730), a warm friend of the Boyle family, was secretary to Charles Boyle, fourth Earl of Orrery, and, from 1714-1720, tutor to his son, John, the writer of these notes. His play Mariamne was acted at Lincoln's Inn Fields in 1723.

95 o

APPENDICES

of ye great objections to Italian Operas, is, that they are unnatural: because you that cannot delude your Senses so far as to suppose a Man run through ye Body and gasping his last Breath, could sing a fine Song & Die with a Quaver in his mouth: but methinks 'tis little less preposterous, to hear Almanzor rant in Rhyme, or Oedipus in a rage make a Thundering Couplet; & I am positive our Ears would be better pleas'd to hear Nonsense set to Musick, than gingie in [j] Rhyme. N a y were it possible for Harmony and Sense to agree (which our late Operas are the only Examples against) I believe no Body would prefer Rhyme said, to Prose sung. But notwithstanding the great disadvantage of writing in Rhyme, Lord now Orrery's Plays are universally esteem'd, tho' not λ acted: Besides Plays He has Books of fe» writen several other Thingo on different Subjects: e s ë a Copy of Verses that his Λ are printed before Mrs. Orinda Philips's Poems : which because not enter'd in any of his Works, may be here inserted. Lord Orrery ever at his Leisure Hours amus'd himself with writing; and being much afflicted with the Gout, at those times when that Distemper hinder'd him from seeing Company, He dictated to one of his Daughters some of his Works: which made Mr. Dryden tell [7] him, that like the Priestess of Apollo, He deliver'd his Oracles always in Torment; and the World was oblig'd to his Misery for their Delight. I think it was his Daughter Powerscourt 2 who was his Secretary, for He had frequently such severe Fits of the Gout that the Use of his Limbs was taken from him for some months. The Plays that He wrote are The History of Henry the fifth, a Tragedy Mustapha, a Tragedy The Black Prince, a Tragedy Tryphon. a Tragedy These Four are bound up together in Folio, printed in the Year 1670. His other Plays are printed single, and are Herod the Great, a Tragedy Guzman, a Comedy Master Anthony, a Comedy Altemira, a Tragedy It has been said before that Herod was never acted; but Guzman was; Master Anthony too the sequel of Guzman was after Lord Orrery's Death brought upon only the Stage, but being disrelish'd by the [5] Audience appear'd fetrt one Night. It is probable The Author had not supervis'd and corrected It sufficiently before he died. Altemira was much shorten'd and alter'd, by the then Honourable Charles Boyle Esq. since Earl of Orrery. 2

L a d y Elizabeth Boyle, eldest daughter of Roger Boyle, who married Viscount

Powerscourt, her father's ward.

APPENDICES

95I

(Here follow comments on the prose works of Roger Boyle, on his friendship with Cowley, and a transcript of his poem On the Death of Mr. Abraham Cowley.) The Story of Herod & Mariamne, had been twice attempted on the Theatre before my Grandfather made this Play. The First who undertook It was the Lady Betty Carew in Queen Elizabeth's Time who call'd her Play, Mariam, the fair Queen of Jewry. 3 What success it had I know not, but We may almost conclude that it did neither meet with, nor merit the utmost Applause for the same Story was again wove into a Tragedy in a few Years by Mr. Gervas Markham & call'd Herod and Antipater. 4 Γ Τ Γ* 1 ' I 1 " ^J X l i m i

Τ rt^fJ I I ^ W f t ^ T ^ J 14· J t ^ U i S 13«