Part 37

_Diog._ I remember there was a thing that I repented mee of, and now thou hast tolde it. Indeed, it was too deare of nothing,[962] and thou deare to no bodie.

_Lais._ Downe, villaine, or I will have thy head broken!

_Mil._ Will you couch?[963] 35

_Phry._ Avant, curre! Come, sweet Lays, let us goe to some place and possesse peace. But first let us sing; there is more pleasure in tuning of a voyce, than in a volly of shot. [_A Song._]

_Mil._ Now let us make hast, least Alexander finde us here! _Exeunt_ [_all except Diogenes._]

Actus quintus. Scæna quarta.[964]

[_Enter_] ALEXANDER, HEPHESTION, [_and_] PAGE.[965] [DIOGENES _is in his tub_.]

_Alex._ Methinketh, Hephestion, you are more melancholy than you were accustomed; but I perceive it is all for Alexander. You can neither brooke this peace nor my pleasure. Bee of good cheare; though I winke, I sleepe not.

_Hep._ Melancholy I am not, nor well content; for, I know not how, 5 there is such a rust crept into my bones with this long ease that I feare I shall not scowre it out with infinite labours.

_Alex._ Yes, yes, if all the travailes of conquering the world will set either thy bodie or mine in tune, we will undertake them. But what thinke you of Apelles? Did yee ever see any so perplexed? He neither answered directly to any question, nor looked 10 stedfastly upon any thing. I hold my life the painter is in love.

_Hep._ It may be; for commonly we see it incident in artificers to be enamoured of their owne workes, as Archidamus of his wooden dove, Pygmalion of his ivorie image,[966] Arachne of her woven 15 swanne,[967]--especially painters, who playing with their owne conceits, now coveting[968] to draw a glancing eie, then a rolling, now a winking, still mending it, never ending it, till they be caught with it, and then, poore soules, they kisse the colours with their lips, with which before they were loth to taint their fingers. 20

_Alex._ I will find it out. Page, goe speedily for Apelles. Will him to come hither; and when you see us earnestly in talke, sodainly crie out, "Apelles shop is on fire!"

_Page._ It shall be done.

_Alex._ Forget not your lesson. [_Exit Page._] 25

_Hep._ I marvell what your devise shal be.

_Alex._ The event shall prove.

_Hep._ I pittie the poore painter if he be in love.

_Alex._ Pitie him not, I pray thee. That severe gravity set aside, what doe you thinke of love? 30

_Hep._ As the Macedonians doe of their hearbe beet,--which looking yellow in the ground and blacke in the hand,--thinke it better seene than toucht.

_Alex._ But what doe you imagine it to be?

_Hep._ A word, by superstition thought a god, by use turned to an 35 humour, by selfe-will made a flattering madnesse.

_Alex._ You are too hard-hearted to thinke so of love. Let us goe to Diogenes. [_They cross the stage._] Diogenes, thou mayst thinke it somewhat that Alexander commeth to thee againe so soone.

_Diog._ If you come to learne, you could not come soone enough; if 40 to laugh, you be come too soone.

_Hep._ It would better become thee to be more courteous and frame thy self to please.

_Diog._ And you better to bee lesse, if you durst displease.

_Alex._ What doest thou thinke of the time we have here? 45

_Diog._ That we have little and lose much.

_Alex._ If one be sicke, what wouldst thou have him doe?

_Diog._ Bee sure that hee make not his physician his heire.

_Alex._ If thou mightest have thy will, how much ground would content thee? 50

_Diog._ As much as you in the end must be contented withall.

_Alex._ What, a world?

_Diog._ No, the length of my bodie.

_Alex._ [_aside_]. Hephestion, shall I bee a little pleasant with him?

_Hep._ [_aside_]. You may; but hee will be very perverse with you. 55

_Alex._ [_aside_]. It skils not;[969] I cannot be angry with him. Diogenes, I pray thee what doest thou thinke of love?

_Diog._ A little worser than I can of hate.

_Alex._ And why?

_Diog._ Because it is better to hate the things which make to love 60 than to love the things which give occasion of hate.

_Alex._ Why, bee not women the best creatures in the world?

_Diog._ Next men and bees.

_Alex._ What doest thou dislike chiefly in a woman?

_Diog._ One thing. 65

_Alex._ What?

_Diog._ That she is a woman.

_Alex._ In mine opinion thou wert never borne of a woman, that thou thinkest so hardly of women. [_Enter Apelles._] But now commeth Apelles, who I am sure is as farre from thy thoughts as thou 70 art from his cunning. Diogenes, I will have thy cabin[970] removed neerer to my court, because I will be a philosopher.

_Diog._ And when you have done so, I pray you remove your court further from my cabin, because I will not be a courtier.

_Alex._ But here commeth Apelles. Apelles, what peece of work 75 have you now in hand?

_Apel._ None in hand, if it like your Majestie; but I am devising a platforme[971] in my head.

_Alex._ I thinke your hand put it in your head. Is it nothing about Venus? 80

_Apel._ No, but something above[972] Venus. [_The Page runs in._]

_Page._ Apelles, Apelles, looke aboute[972] you! Your shop is on fire!

_Apel._ [_starting off_]. Aye mee, if the picture of Campaspe be burnt, I am undone! 85

_Alex._ Stay, Apelles; no haste. It is your heart is on fire, not your shop; and if Campaspe hang there, I would shee were burnt. But have you the picture of Campaspe? Belike you love her well, that you care not though all be lost, so she be safe.

_Apel._ Not love her! But your Majestie knowes that painters in 90 their last workes are said to excell themselves; and in this I have so much pleased my selfe, that the shadow as much delighteth mee, being an artificer, as the substance doth others, that are amorous.

_Alex._ You lay your colours grosly.[973] Though I could not paint in your shop, I can spie into your excuse. Be not ashamed, Apelles; it is a gentlemans sport to be in love. [_To the Page._] Call 95 hither Campaspe. [_Exit Page._] Methinkes[974] I might have beene made privie to your affection: though my counsell had not bin necessary, yet my countenance might have beene thought requisite. But Apelles, forsooth, loveth under hand; yea, and under Alexanders nose, and--but I say no more! 100

_Apel._ Apelles loveth not so; but hee liveth to doe as Alexander will. [_Re-enter Page with Campaspe._]

_Alex._ Campaspe, here is newes. Apelles is in love with you.

_Camp._ It pleaseth your Majestie to say so. 105

_Alex._ [_aside_]. Hephestion, I will trie her too.--Campaspe, for the good qualities I know in Apelles and the vertue I see in you, I am determined you shall enjoy one another. How say you, Campaspe, would you say, "I?"

_Camp._ Your hand-maid must obey if you command. 110

_Alex._ [_aside_]. Thinke you not, Hephestion, that she would faine be commanded.

_Hep._ [_aside_]. I am no thought-catcher, but I ghesse unhappily.[975]

_Alex._ I will not enforce marriage where I cannot compell love.

_Camp._ But your Majestie may move a question where you be 115 willing to have a match.

_Alex._ [_aside_]. Beleeve me, Hephestion, these parties are agreed; they would have mee both priest and witnesse.--Apelles, take Campaspe! Why move yee not? Campaspe, take Apelles! Will it not be? If you be ashamed one of the other, by my consent you 120 shall never come together. But dissemble not, Campaspe. Doe you love Apelles?

_Camp._ Pardon, my lord; I love Apelles.

_Alex._ Apelles, it were a shame for you, being loved so openly of so faire a virgin, to say the contrairie. Do you love Campaspe? 125

_Apel._ Onely Campaspe!

_Alex._ Two loving wormes, Hephestion! I perceive Alexander cannot subdue the affections of men, though he[976] conquer their countries. Love falleth, like a dew, as well upon the low grasse as upon the high cedar.[977] Sparkes have their heate, ants their gall, flies their spleene. Well, enjoy one another. I give her 130 thee frankly, Apelles. Thou shalt see that Alexander maketh but a toy of love and leadeth affection in fetters, using fancie as a foole to make him sport or a minstrell to make him merry. It is not the amorous glance of an eye can settle an idle thought in the heart. No, no, it is childrens game, a life for seamsters and 135 schollers; the one, pricking in clouts,[978] have nothing else to think on; the other, picking fancies out of books, have little else to marvaile at. Go, Apelles, take with you your Campaspe; Alexander is cloyed with looking on that which thou wondrest at.[979] 140

_Apel._ Thankes to your Majestie on bended knee: you have honoured Apelles.

_Camp._ Thankes with bowed heart: you have blessed Campaspe. _Exeunt_ [_Apelles and Campaspe_].

_Alex._ Page, goe warne Clytus and Parmenio and the other lords to be in a readinesse; let the trumpet sound; strike up the drumme; and I will presently into Persia. How now, Hephestion, is 145 Alexander able to resist love as he list?

_Hep._ The conquering of Thebes was not so honourable as the subduing of these thoughts.

_Alex._ It were a shame Alexander should desire to command the 150 world, if he could not command himselfe. But come, let us goe. I will trie whether I can better beare my hand with my heart[980] than I could with mine eye. And, good Hephestion, when all the world is wonne and every country is thine and mine, either find me out another to subdue, or, of[981] my word I will fall in love. _Exeunt._ 155

FINIS

FOOTNOTES:

[767] Manly, the only editor of preceding texts, who attempts to place the scenes, prints here: "The audience-chamber of the palace. Clitus and Parmenio near the door. Timoclea and Campaspe are brought in later as prisoners. Alexander on the throne, attended by Hephestion." Do not lines 77-78 suggest that the scene takes place just outside the city walls, as Alexander returns from conquest; and that the characters enter one after another?

[768] Plutarch (_Alexander_) says Clitus was of "a churlish nature, prowde and arrogant." See IV. 315, 357-59. Plutarch mentions Parmenio (_Alexander_), IV. 354-56.

[769] Lyly softens Plutarch. See IV. 309-10.

[770] "Likewise that shee loseth her light (as the rest of the planets) by the brightnes of the Sun, when she approcheth neere. For borrowing wholly of him her light she doth shine." Holland, II. 9.

[771] Old French _singulier_, excellent. F.

[772] 'Staine' for excel. The sense is, "It is for turquoises to excel one another, not for diamonds, for among the latter there can be no comparison, since all are perfect."

[773] Lyly refers both to the Persian sun-worshippers and the saying of Pompey, "More worship the rising than the setting sun."

[774] All preceding texts read 'that which.'

[775] Odyssey, 11.

[776] Fear.

[777] Esteems.

[778] In all things he is that than.

[779] Mentioned in _North's Plutarch_, Nutt, IV. 345, 353, 380.

[780] If it like. See p. 327.

[781] _Sic_ A. and B.; Bl. 'Chyeronte.'

[782] For the dramatic story of Timoclea and the original of this speech see _North's Plutarch_, Nutt, IV. 310-11.

[783] Worst possible.

[784] Bl. prints this as the name of the speaker.

[785] The market-place. M.

[786] Diogenes brought to Athens an attendant of this name, and dismissed him for the reasons given p. 296.

[787] Lyly refers blindly to the following: "Seeing a mouse running over a Room and considering with himself that it neither sought for a Bed, nor was affraid to be alone in the dark, nor desired any of our esteemed Dainties, he contrived a way to relieve his own Exigencies; being the first, as some think, that folded in the Mantle, because his necessity obliged him to sleep in it." _Lives of Philosophers_, VI., 402.

[788] The constant application of the epithet "Dog," to Diogenes is historically correct. When Alexander first went to see the philosopher, he introduced himself thus: "I am Alexander, surnamed the Great." To this Diogenes replied: "And I am Diogenes, surnamed the Dog." The Athenians raised a pillar of Parian marble, surmounted with a dog, to his memory.

[789] Currish fellow.

[790] Perfect.

[791] Conceits.

[792] Yesterday.

[793] Pun: surpassing, running by.

[794] Bl. prints _Why then, this_; F. _thus_.

[795] This Socratic method foreshadows Shakespeare's clowns and pages.

[796] 'Redes,' teaches.

[797] Pun: painting, substituting false for real.

[798] Bl. omits _a_.

[799] Picture.

[800] Countenances.

[801] Preceding texts read: _And with the riotous_; _with_ printer's repetition.

[802] Terence, _Eunuchus_, 816.

[803] "All the old editions omit _by_; it appears in Dodsley, and a sixteenth-century hand inserted it in ink in a copy of the third edition, now in the Garrick collection." M.

[804] Hash.

[805] Diogenes.

[806] Referring to the bad effect on the voice of eating just before singing.

[807] Bl. first gave the songs. In Bl. 'Granicus' is below 'Song.'

[808] Besides.

[809] Rabbit.

[810] Alexander's Palace. M. The first part might be there, but the portion with Diogenes belongs in some public place through which the philosophers pass, returning from the palace.

[811] Bl. adds here the names of all who enter during the scene.

[812] From Plutarch's account of Aristotle (_Alexander_, IV., 304-306, 363), Lyly borrows only the idea that Alexander, suspecting Aristotle of treasonable designs, withdrew some of his friendliness.

[813] For his relations with Alexander and Clitus, see North's _Plutarch_, IV., 359-360.

[814] See Prologue, _Endimion_.

[815] A theoretical cause.

[816] The preceding seven lines roughly sum up the contrasting opinions of Plato and Aristotle on physical matters.

[817] 'The earth which as a masse swimmeth,' or 'The earth, which is a masse, swimming'?

[818] Nature that is a creative energy.

[819] C. _knewe_.

[820] Bl. omits _of_.

[821] Instruction.

[822] Alexander "plainly shewed the ill will he bare unto Aristotle, for that Callisthenes had bene brought up with him, being his kinsman, and the son of Hero, Aristotle's neece." For the charges against the philosopher Callisthenes, see North's _Plutarch_, Nutt, IV., 359-363.

[823] Bl. _rulers_, the quartos 'rules.'

[824] The following six questions and answers Lyly selects from nine in an interview of Alexander with ten wise men of India. North's _Plutarch_, Nutt, IV., 372-373.

[825] Alexander really spoke thus to Parmenio, but under very different circumstances. _North's Plutarch_, Nutt, IV., 332-333.

[826] Bl. _thrall_.

[827] Neither the quartos nor Bl. mark this entrance. In the Garrick copy of C. a contemporary of Lyly, W. Neile, noted it in ink. If Diogenes enters here, he goes to the farther side of the stage. The philosophers at once cross to him. Possibly he comes on at any time during the preceding dialogue, and going quietly to his part of the stage, waits till the philosophers see him and cross.

[828] See _Lives of Philosophers_, 1696, 401.

[829] "You pretend to be better than you are, for you do not at heart object to counterfeiting," or, possibly, "Since you do not gain money by counterfeiting, you live falsely, for you have no adequate means of support."

[830] Mad.

[831] Editors, following Bl., have made the second act begin here, but would Diogenes go out only to come on at once? Bl. printed 'Diogenes, Psyllus,' etc. To the stage direction M. adds 'And Citizens.'

[832] This line is Lyly's rather vague reference to the search of Diogenes for an honest man.

[833] Almost the words of Diogenes. See _Lives of Philosophers_, VI., 423.

[834] Yesterday.

[835] "Seeing once a little Boy drinking Water out of the Hollow of his Hand, he took his little Dish out of his Scrip, and threw it away, saying: This little boy hath out-done me in frugality."--_Lives of Philosophers_, VI., 412.

[836] Bl. omits _I_. The quartos give it.

[837] Preceding editions _of_.

[838] "In old musical treatises harmony is frequently termed a consent of instruments." F.

[839] Fiddle.

[840] Bl. _ala._ M. corrects.

[841] The Market-place. M.

[842] Preceding editions, _Scæna Secunda_.

[843] Bl. added 'Diogenes, Apelles.'

[844] See _Epistle Dedicatorie, Euphues and his England_.

[845] Ovid, _Fasti_, II. 305.

[846] Horses covered with defensive armor.

[847] Did this suggest:--

"Grim-visaged war hath smooth'd his wrinkled front; And now,--instead of mounting barbed steeds To fright the souls of fearful adversaries,-- He capers nimbly in a lady's chamber, To the lascivious pleasing of a lute!"--_Rich. III_. I. 1. Do.

[848] "All precious stones in general are improved in brilliancy by being boiled in honey, Corsican honey more particularly."--_Hist. of World_, XXXVII. 74. Bohn.

[849] Mullet.

[850] Cornish for brill and turbot.

[851] "Deceived and intoxicated with unreasoning affection." F.

[852] Refute.

[853] During the preceding dialogue Diogenes has probably come in with his tub. Going to a remote part of the stage, he has put it down and crawled into it.

[854] For the original of this scene and for some of the speeches, see _North's Plutarch_, IV. 311-312, Nutt; see also _Lives of Philosophers_, VI. 413.

[855] Does Diogenes go out here, or crawl into his tub, to emerge when Crysus speaks to him, III. iii?

[856] The house of Apelles: first inside, then in front.

[857] Flatter.

[858] Homely face.

[859] If you give up in despair.

[860] Flatter.

[861] Longing, caused by her beauty, will take the color from his face.

[862] Bl. and later editors mark a new scene here. Stage direction in Bl. 'Psyllus, Manes.'

[863] As lean as Diogenes himself? Query: 'Dropped him'? The phrase suggests, "As like as if he had been spit out of his mouth" for "exact image." Kittredge.

[864] Manes mimics each sound.

[865] F. inserts _to_ before _one_.

[866] Impudent replies.

[867] _Oyez._

[868] Psyllus, when he comes to "flie," breaks off incredulous. Manes gives the word.

[869] Preceding editions, _tertia_. The Studio of Apelles.

[870]

"But her eyes! How could he see to do them?" _M. of V._ III. ii.

[871] Does Campaspe playfully close her eyes here?

[872] Pun: to paint and to hide. Campaspe is posing nude.

[873] Perfect.

[874] Lyly is thinking of the work of Arachne, who challenged Minerva to a trial of skill with the needle, and represented the amours of Jupiter named. Ovid., _Meta._ VI. 1.

[875] Preceding editions _quarta_. As M. notes, Apelles and Campaspe busy themselves with the picture at one side of the stage. A new scene is hardly necessary. Bl. 'Clytus, Parmenio, Alexander, Hephestion, Crysus, Diogenes, Apelles, Campaspe.'

[876] Remain undecided.

[877] The modern "long arm of the Law."

[878] Bl. omits _not_; A. gives it.

[879] _North's Plutarch_, Nutt, IV. 303-304, 351, 369-370.

[880] Bl. _of_; F. _or of_. M. corrects as in text.

[881] Diogenes enters before Crysus; or, more probably, has been on the stage in his tub since II. 1. See p. 301.

[882] In this and the next line, the speakers refer to the popular idea that true Cynics despised money.

[883] Fourpence. Often used for a very small sum.

[884] In Attica about $1000.

[885] As Alexander calls, he is supposed to enter the house of Apelles. See p. 306, note 875.

[886] Arellius? Mentioned, Holland, XXXV. 10. No painter Aurelius is known.

[887] Pun: technical knowledge and manual skill, and guileful. Apelles thinks of his need to conceal his passion.

[888] For the original of this see Holland, XXXV. 7.

[889] Looks, with something of the sense of attractions.

[890] At this time it was fashionable to dye the hair yellow in compliment to the natural color of the Queen's hair. F.

[891] A description simple because ancient armour lacked the varied markings of Elizabethan coats-of-arms.

[892] Loveliness.

[893] Ornamental arrangements of flower-beds.

[894] Harmony.

[895] The charcoal with which Alexander is drawing.

[896] The old pictures were painted on wooden panels.

[897] For the suggestion for this scene, see Holland, XXXV. 10.

[898] Go as I wish.

[899] "Modesty tempered in yielding by a contrasting emotion." F.

[900] Preceding editions _quinta_. Before the house of Apelles. Is a division needed? Apelles might remain when Alexander and Hephestion leave, and just before Psyllus cries "Away, Manes," see his page and move toward him. Bl. 'Psyllus, Manes, Apelles.'

[901] Bl. _Hast thou hast._ F. and M. strike out the first _hast_. Is it not more likely that the second is the mistake?

[902] "Alexander streightly forbad by express edict, that no man should draw his portrait in colours but Apelles the painter: that none should engrave his personage but Pyrgoteles, the graver: and last of all, that no workman should cast his image in brasse but Lysippus a founder," Holland, VII. 1.

[903] Apelles addresses here and in l. 44 a picture of Venus, which he really left unfinished. Holland, XXXV. 11.

[904] Canopy

[905] Basilisk, Holland, VIII. 21.

[906] "Do I say paint what not (what is not) Apelles? What are all these--sighs, wounds, etc., but Apelles himself?"

[907] _Cullises_, strengthening jellies.

[908] The market-place. M.

[909] Bl. adds 'Manes, Diogenes, Populus.'

[910] Ovid, _Meta._ VIII.

[911] Guy him.

[912] Diogenes has probably been in his tub since his dialogue with Crysus, p. 308.

[913] M. suggests 'Yee.' See next line.

[914] Sow the inedible and weed out the edible.

[915] Shut up as if precious.

[916] "In falconry _sealed_ means blinded." Do.

[917] Railed at.

[918] For conduct of Diogenes similar to this scene see _Lives of Philosophers_, VI. 405.

[919] Diogenes refers to ll. 50-54, p. 315. Throughout Diogenes is very like a Cynic as described in Lucian's "Sale of the Philosophers."

[920] Diogenes, thinking of himself as older than most of the crowd and wiser than any, names himself, apparently, in 'thy father.' "Diogenes need fear no curs like you, but you need fear a rating from me."

[921] Decrepit persons.

[922] A room in the palace. M. Why not the house of Apelles, into which the painter and Campaspe go after the last lines of the scene?

[923] Bl. 'Campaspe, Apelles.'

[924] Bl., 'aswell.'

[925] "Apelles would have no dissembling in real love, but only in the simulated love he despises." F.

[926] The palace. M.

[927] Pretext.

[928] "For the sound of the war trumpet, the voice of the singer." F.

[929] A large and usually ornamental drinking cup, made especially for the dresser or sideboard. The chief guest at an entertainment or the presiding dignitary was served from it.

[930] An engraving in Alciati's _Emblems_, representing bees swarming into the face-guard of a helmet probably provided this simile. F.

[931] Gloves were worn in the hat for three purposes,--as the favor of a mistress, the memorial of a friend, and as a mark to challenge an enemy.

[932] Destroy.

[933] To dance in a slow and stately fashion.

[934] Studio of Apelles.

[935] Bl., one word.

[936] Preceding editions, following Bl., read 'Campaspe alone.' It is much more natural to suppose that while she is crossing the stage, Apelles lingers on one side, watching her. When she goes out, he speaks.

[937] Preceding editions, _Actus quartus. Scæna quinta_; Bl. 'Apelles, Page.'