SCENE II.

_A Banqueting-hall._

_Enter_ CASTILIO _and_ FOROBOSCO; _two Pages, with torches_; LUCIO, _bare_; PIERO _and_ MARIA, GALEATZO, _two Senators, and_ NUTRICHE.

_Pier._ Sit close unto my breast, heart of my love; Advance thy drooping eyes, thy son is drown'd. Rich happiness that such a son is drown'd! Thy husband's dead: life of my joys most bless'd, In that the sapless log, that press'd thy bed With an unpleasing weight, being lifted hence, Even I, Piero, live to warm his place. I tell you, lady, had you view'd us both With an unpartial eye, when first we wooed Your maiden beauties, I had borne the prize. 10 'Tis firm I had; for, fair, I ha' done that----

_Mar._ [_Aside._] Murder.

_Pier._ Which he would quake to have adventurèd; Thou know'st I have----

_Mar._ [_Aside._] Murder'd my husband.

_Pier._ Borne out the shock of war, and done--what not, That valour durst? Dost love me, fairest? Say.

_Mar._ As I do hate my son, I love thy soul.

_Pier._ Why, then, Io[315] to Hymen, mount a lofty note! Fill[316] red-cheek'd Bacchus, let Lyæus float 20 In burnish'd goblets! Force the plump-lipp'd god. Skip light lavoltas[317] in your full-sapp'd veins! 'Tis well, brim full. Even I have glut of blood: Let quaff carouse. I drink this Burdeaux wine Unto the health of dead Andrugio, Feliche, Strotzo, and Antonio's ghosts. [_Aside._] Would I had some poison to infuse it with; That having done this honour to the dead, I might send one to give them notice on't: I would endear my favour to the full.-- 30 Boy, sing aloud; make heaven's vault to ring With thy breath's strength. I drink. Now loudly sing.

[_A song. The song ended the cornets sound a senet._

_Enter_ ANTONIO, PANDULPHO, _and_ ALBERTO, _in maskery_; BALURDO, _and a Torchbearer_.

_Pier._ Call Julio hither. Where's the little soul? I saw him not to-day. Here's sport alone For him, i'faith; for babes and fools, I know, Relish not substance, but applaud the show.

_Gal._ (_To the conspirators as they stand in rank for the measure._[318]) All blessèd fortune crown your brave attempt. [_To_ ANTONIO. I have a troop to second your attempt. [_To_ PANDULPHO. The Venice states join hearts unto your hands. [_To_ ALBERTO.

_Pier._ By the delights in contemplation 40 Of coming joys, 'tis magnificent. You grace my marriage eve with sumptuous pomp. Sound still, loud music! O, your breath gives grace To curious feet, that in proud measure pace.

_Ant._ [_Aside to_ MARIA.] Mother, is Julio's body----

_Mar._ [_Aside to_ ANTONIO.] Speak not, doubt not; all is above all hope.

_Ant._ [_Aside._] Then will I dance and whirl about the air: Methinks I am all soul, all heart, all spirit. Now murder shall receive his ample merit.

_The measure._

_While the measure is dancing_, ANDRUGIO'S _ghost is placed betwixt the music-houses_.[319]

_Pier._ Bring hither suckets, candied delicates. 50 We'll taste some sweetmeats, gallants, ere we sleep.

_Ant._--We'll cook your sweetmeats, gallants, with tart sour sauce.

_Ghost of And._ Here will I sit, spectator of revenge, And glad my ghost in anguish of my foe.

[_The maskers whisper with_ PIERO.

_Pier._ Marry and shall; i'faith I were too rude, If I gainsaid so civil fashion.-- The maskers pray you to forbear the room Till they have banqueted. Let it be so: No man presume to visit them, on death.

[_The maskers whisper again._

Only my self? O, why, with all my heart; 60

[_Exeunt all but_ PIERO _and the maskers_.

I'll fill your consort. Here Piero sits; Come on, unmask, let's fall to.

[_The conspirators bind_ PIERO, _pluck out his tongue, and triumph over him_.

_Ant._ Murder and torture! no prayers, no entreats!

_Pan._ We'll spoil your oratory. Out with his tongue.

_Ant._ I have 't, Pandulpho; the veins panting bleed, Trickling fresh gore about my fist. Bind fast--so, so!

_Ghost of And._ Bless'd be thy hand! I taste the joys of heaven, Viewing my son triumph in his black blood.

_Bal._ Down to the dungeon with him! I'll dungeon with him! I'll fool you; Sir Jeffrey will be Sir Jeffrey; I'll tickle you. 71

_Ant._ Behold, black dog!

_Pan._ Grinn'st thou, thou snurling[320] cur?

_Alb._ Eat thy black liver.

_Ant._ To thine anguish see A fool triumphant in thy misery. Vex him, Balurdo.

_Pan._ He weeps; now do I glorify my hands; I had no vengeance, if I had no tears.

_Ant._ Fall to, good Duke. O these are worthless cates, You have no stomach to them; look, look here: Here lies a dish to feast thy father's gorge. 80

[_Uncovering the dish that contains_ LUCIO'S _limbs_.

Here's flesh and blood, which I am sure thou lov'st.

[PIERO _seems to condole his son_.

_Pan._ Was he thy flesh, thy son, thy dearest son?

_Ant._ So was Andrugio, my dearest father.

_Pan._ So was Feliche, my dearest son.

_Enter_ MARIA.

_Mar._ So was Andrugio my dearest husband.

_Ant._ My father found no pity in thy blood.

_Pan._ Remorse was banish'd, when thou slew'st my son.

_Mar._ When thou empoisoned'st my loving lord, Exiled was piety.

_Ant._ Now therefore pity, piety, remorse, 90 Be aliens to our thoughts; grim fire-ey'd rage Possess us wholly.

_Pan._ Thy son? true; and which is my most joy, I hope no bastard, but thy very blood, Thy true-begotten, most legitimate And lovèd issue--there's the comfort on't.

_Ant._ Scum of the mud of hell!

_Alb._ Slime of all filth!

_Mar._ Thou most detested toad!

_Bal._ Thou most retort and obtuse rascal!

_Ant._ Thus charge we death at thee; remember hell, And let the howling murmurs of black spirits, 101 The horrid torments of the damnèd ghosts, Affright thy soul as it descendeth down Into the entrails of the ugly deep.

_Pan._ Sa, sa; no, let him die, and die, and still be dying.

[_They offer to run all at_ PIERO, _and on a sudden stop_.

And yet not die till he hath died and died Ten thousand deaths in agony of heart.

Ant. Now pellmell: thus the hand of Heaven chokes The throat of murder. This for my father's blood!

[_He stabs_ PIERO.

_Pan._ This for my son! 110

_Alb._ This for them all! And this, and this, sink to the heart of hell!

[_They run all at_ PIERO _with their rapiers_.

_Pan._ Murder for murder, blood for blood, doth yell!

_And._ 'Tis done, and now my soul shall sleep in rest: Sons that revenge their father's blood are blest.

[_The curtains being drawn, exit_ ANDRUGIO.

_Enter_ GALEATZO, _two_ Senators, LUCIO, FOROBOSCO, CASTILIO, _and Ladies_.

_1st Sen._ Whose hand presents this gory spectacle?

_Ant._ Mine.

_Pan._ No, mine.

_Alb._ No, mine.

_Ant._ I will not lose the glory of the deed, 120 Were all the tortures of the deepest hell Fix'd to my limbs. I pierced the monster's heart With an undaunted hand.

_Pan._ By yon bright-spangled front of heaven 'twas I! 'Twas I sluiced[321] out his life-blood.

_Alb._ Tush, to say truth, 'twas all.

_2d Sen._ Blest be you all, and may your honours live Religiously held sacred, even for ever and ever.

_Gal._ (_to_ ANTONIO). Thou art another Hercules to us, In ridding huge pollution from our state. 130

_1st Sen._ Antonio, belief is fortified With most invincible approvements[322] of much wrong By this Piero to thee. We have found Beadrolls of mischief, plots of villainy, Laid 'twixt the Duke and Strotzo, which we found Too firmly acted.

_2d Sen._ Alas, poor orphant!

_Ant._ Poor! Standing triumphant over Belzebub! Having large interest for blood, and yet deem'd poor?

_1st Sen._ What satisfaction outward pomp can yield, Or chiefest fortunes of the Venice state, 140 Claim freely. You are well-season'd props, And will not warp, or lean to either part; Calamity gives a man a steady heart.

_Ant._ We are amaz'd at your benignity; But other vows constrain another course.

_Pan._ We know the world, and did we know no more, We would not live to know; but since constraint Of holy bands forceth us keep this lodge Of dirt's corruption, till dread power calls Our soul's appearance, we will live enclosed 150 In holy verge of some religious order, Most constant votaries.

[_The curtains are drawn_, PIERO _departeth_.

_Ant._ First let's cleanse our hands, Purge hearts of hatred, and entomb my love, Over whose hearse I'll weep away my brain In true affection's tears. For her sake here I vow a virgin bed: She lives in me, with her my love is dead.

_2d Sen._ We will attend her mournful exequies; Conduct you to your calm sequestered life, And then---- 160

_Mar._ Leave us to meditate on misery, To sad our thought with contemplation Of past calamities. If any ask Where lives the widow of the poison'd lord? Where lies the orphant of a murder'd father? Where lies the father of a butcher'd son? Where lives all woe?--conduct him to us three, The down-cast ruins of calamity.

_Ant._[323] Sound doleful tunes, a solemn hymn advance, To close the last act of my vengeance; 170 And when the subject of your passion's spent, Sing _Mellida is dead_; all hearts will relent, In sad condolement at that heavy sound. Never more woe in lesser plot was found! And, O, if ever time create a muse, That to th' immortal fame of virgin faith Dares once engage his pen to write her death, Presenting it in some black tragedy, May it prove gracious; may his style be deck'd With freshest blooms of purest elegance; May it have gentle presence, and the scenes suck'd up By calm attention of choice audience; 181 And when the closing Epilogue appears, Instead of claps, may it obtain but tears.

[_A song.--Exeunt omnes._

_Antonii vindictæ_ [_sic_].

[315] "Io"--the joyful cry with which Hymen was invoked by the ancients. Cf. Catullus:-- "Ite, concinite in modum: Io Hymen Hymenæe io, Io Hymen Hymenæe!"

[316] Old eds. "Ful."

[317] A sort of waltz, described in Sir John Davies' _Orchestra_, st. 70.--Cf. Chapman's _May Day_ (1611), iv. 1:-- "Fill red-cheek'd Bacchus, let the Burdeux grape Skip like [sic] lavoltas in their swelling veins" --lines made up from the present passage.

[318] "Measure"--a grave solemn dance.

[319] See Collier's _Hist. of Engl. Dram. Poetry_, iii. 251-2 (ed. 2).

[320] So Marston uses "kn_u_rl'd" (p. 166) for "gn_a_rl'd."

[321] Cf. _Richard II._, i. 1:--"_Sluiced out_ his innocent soul through streams of blood."

[322] Proofs.

[323] Old eds. "_And._"

THE MALCONTENT.

_The Malcontent. By Iohn Marston._ 1604. _At London printed by V. S. for William Aspley, and are to be solde at his shop in Paules Church-yard._ 4to.

_The Malcontent. Augmented by Marston. With the Additions played by the Kings Maiesties servants. Written by Ihon Webster._ 1604. _At London Printed by V. S. for William Aspley, and are to be sold at his shop in Paules Church-yard._ 4to.

STORY OF THE PLAY.

Giovanni Altofronto, Duke of Genoa, driven from power by the plots of Pietro Jacomo, disguises himself and lives under the name of Malevole at the usurper's court, assuming the character of a malcontent. His identity is known only to his faithful friend Celso. A crafty courtier, Mendoza, who had assisted in dethroning Altofronto, has adulterous intercourse with Pietro's wife, Aurelia. Malevole exposes the intrigue to Pietro; but meanwhile Aurelia, induced by an old procuress, Maquerelle, to believe that her lover is faithless, discards Mendoza and engages in an intrigue with another courtier, Ferneze. Pietro, sword in hand, seeks Mendoza, who makes passionate protestations of his own innocence, and declares that the guilty person is Ferneze. On that very night Ferneze has an appointment with the Duchess; and it is agreed that Pietro with some of the guard shall break into the Duchess' chamber, while Mendoza waits with his drawn sword at the door. Ferneze is to be allowed to escape from the chamber, only to be received on the sword of Mendoza, who is then to stand over the body and pretend that he is guarding it from assault. Thus Mendoza will not only serve Pietro, but by his seeming generosity towards Ferneze will earn the gratitude of Aurelia, who, should she attempt to take vengeance on her husband, will not fail to make Mendoza acquainted with her plots, which he will incontinently reveal to Pietro. At the hour appointed, Pietro and the guard invade the Duchess' chamber; the flying gallant is stabbed by Mendoza and left for dead (though he afterwards recovers from the wound); Aurelia receives Mendoza again into favour, and practises with him to murder Pietro. Mendoza, selecting a time when Pietro had gone a-hunting, bribes Malevole to commit the murder. Malevole undertakes to kill Pietro by stealth in the forest, fling his body into the sea, and then return to announce that Pietro, distracted by grief at the dishonour brought on him by his wife, has made away with himself by leaping into the sea from a high rock. To the forest goes Malevole, finds Pietro, and exposes to him the plot; presently Celso appears bringing a hermit's weeds, into which Pietro shifts. They return to the court, and the pretended hermit describes with much detail how he saw Pietro perish, the narrative being substantiated by Malevole. Mendoza is proclaimed Duke, and his first act is to pronounce a sentence of perpetual banishment on Aurelia. He then commissions Malevole to bring from the citadel (where she is confined) the wife of the banished Altofronto, the virtuous Maria, whom he intends to make his Duchess. His brain is now exercised to procure the destruction of the supposed murderers. Malevole is instructed to poison the hermit at a supper given in the citadel, and the hermit on the same occasion is to poison Malevole; thus two awkward agents will be removed, and the suspicion will fall on Maria, whose fears will drive her to submit to Mendoza. Pietro informs Malevole of the instructions he had received, and learns that similar instructions have been given to Malevole. Weighed down with sorrow at his own dishonour, and disgusted with Mendoza's villainy, Pietro declares his determination to dedicate his life to religious solitude, and make it his one care that the banished Altofronto shall be restored to the dukedom. Thereupon Malevole puts off his disguise, and Pietro beholds the banished Duke. Ferneze now approaches with Celso, and receives pardon from Pietro, who had supposed him to be dead. The four then take counsel how they shall depose Mendoza. Malevole goes to the usurper and announces that he has poisoned the hermit; he then produces a box of poison, which, he declares, will cause instant death on being opened and held to the nostrils. Mendoza opens the box and tries its effects on Malevole, who feigns to fall dead. A masque is ordered by Mendoza to be given in honour of Maria, who shows herself indifferent both to the tyrant's flatteries and threats. At the entertainment Malevole, Pietro, and Ferneze appear masked; Malevole chooses Maria as his partner in the dance, and Pietro is matched with Aurelia, who has deeply repented of her misconduct. At the close of the dance, during which Malevole and Pietro have discovered themselves to their partners, the maskers environ Mendoza, level their pistols at his head, and unmask. Altofronto is received with joyful acclamations by the assembled company, and Mendoza--whose life the restored Duke disdains to take--is banished with shameful ignominy.

BENIAMINO[324] JONSONIO,

POETÆ

ELEGANTISSIMO,

GRAVISSIMO,

AMICO

SVO, CANDIDO ET CORDATO,

IOHANNES MARSTON,

MVSARVM ALVMNVS,

ASPERAM HANC SVAM THALIAM

D. D.

[324] Ed. 2. "_Beniamini._"

TO THE READER.

I am an ill orator; and, in truth, use to indite more honestly than eloquently, for it is my custom to speak as I think, and write as I speak.

In plainness, therefore, understand, that in some things I have willingly erred, as in supposing a Duke of Genoa, and in taking names different from that city's families: for which some may wittily accuse me; but my defence shall be as honest as many reproofs unto me have been most malicious. Since, I heartily protest, it was my care to write so far from reasonable offence, that even strangers, in whose state I laid my scene, should not from thence draw any disgrace to any, dead or living. Yet, in despite of my endeavours, I understand some have been most unadvisedly over-cunning in misinterpreting me, and with subtlety as deep as hell have maliciously spread ill rumours, which, springing from themselves, might to themselves have heavily returned. Surely I desire to satisfy every firm spirit, who, in all his actions, proposeth to himself no more ends than God and virtue do, whose intentions are always simple: to such I protest that, with my free understanding, I have not glanced at disgrace of any, but of those whose unquiet studies labour innovation, contempt of holy policy, reverend, comely superiority, and established unity: for the rest of my supposed tartness, I fear not but unto every worthy mind it will be approved so general and honest as may modestly pass with the freedom of a satire. I would fain leave the paper; only one thing afflicts me, to think that scenes, invented merely to be spoken, should be enforcively published to be read, and that the least hurt I can receive is to do myself the wrong. But, since others otherwise would do me more, the least inconvenience is to be accepted. I have myself, therefore, set forth this comedy; but so, that my enforced absence must much rely upon the printer's discretion: but I shall entreat slight errors in orthography may be as slightly over-passed, and that the unhandsome shape which this trifle in reading presents, may be pardoned for the pleasure it once afforded you when it was presented with the soul of lively action.

_Sine aliqua dementia nullus Phoebus._[325]

[325] For this motto ed. 1. gives "_Me mea sequentur fata._"

THE INDUCTION[326]

TO

THE MALCONTENT, AND THE ADDITIONS ACTED BY THE KING'S MAJESTY'S SERVANTS.

WRITTEN BY JOHN WEBSTER.

_Enter_ W. SLY,[327] _a_ Tire-man _following him with a stool_.

_Tire-man._ Sir, the gentlemen will be angry if you sit here.

_Sly._ Why, we may sit upon the stage at the private house.[328] Thou dost not take me for a country gentleman, dost? dost think I fear hissing?[329] I'll hold my life thou tookest me for one of the players.

_Tire-man._ No, sir.

_Sly._ By God's slid, if you had, I would have given you but sixpence[330] for your stool. Let them that have stale suits sit in the galleries. Hiss at me! He that will be laughed out of a tavern or an ordinary, shall seldom feed well, or be drunk in good company.--Where's Harry Condell, Dick Burbadge, and William Sly? Let me speak with some of them. 14

_Tire-man._ An't please you to go in, sir, you may.

_Sly._ I tell you, no: I am one that hath seen this play often, and can give them intelligence for their action: I have most of the jests here in my table-book.

_Enter_ SINKLO.[331]

_Sinklo._ Save you, coz!

_Sly._ O, cousin, come, you shall sit between my legs here. 21

_Sinklo._ No, indeed, cousin: the audience then will take me for a viol-de-gambo, and think that you play upon me.

_Sly._ Nay, rather that I work upon you, coz.

_Sinklo._ We stayed for you at supper last night at my cousin Honeymoon's, the woollen-draper. After supper we drew cuts for a score of apricocks, the longest cut still to draw an apricock: by this light, 'twas Mistress Frank Honeymoon's fortune still to have the longest cut: I did measure for the women.--What be these, coz? 32

_Enter_ D. BURBADGE,[332] H. CONDELL, _and_ J. LOWIN.

_Sly._ The players.--God save you!

_Burbadge._ You are very welcome.

_Sly._ I pray you, know this gentleman, my cousin; 'tis Master Doomsday's son, the usurer.

_Condell._ I beseech you, sir, be covered.

_Sly._ No,[333] in good faith, for mine ease: look you, my hat's the handle to this fan: God's so, what a beast was I, I did not leave my feather at home! Well, but I'll take an order with you. 41

[_Puts his feather in his pocket._

_Burbadge._ Why do you conceal your feather, sir?

_Sly._ Why, do you think I'll have jests broken upon me in the play, to be laughed at? this play hath beaten all your gallants out of the feathers: Blackfriars hath almost spoiled Blackfriars for feathers.[334]

_Sinklo._ God's so, I thought 'twas for somewhat our gentlewomen at home counselled me to wear my feather to the play: yet I am loth to spoil it.

_Sly._ Why, coz? 50

_Sinklo._ Because I got it in the tilt-yard; there was a herald broke my pate for taking it up: but I have worn it up and down the Strand, and met him forty times since, and yet he dares not challenge it.

_Sly._ Do you hear, sir? this play is a bitter play.

_Condell._ Why, sir, 'tis neither satire nor moral, but the mean passage of a history: yet there are a sort of discontented creatures that bear a stingless envy to great ones, and these will wrest the doings of any man to their base, malicious appliment; but should their interpretation come to the test, like your marmoset, they presently turn their teeth to their tail and eat it. 62

_Sly._ I will not go so far with you; but I say, any man that hath wit may censure,[335] if he sit in the twelve-penny room;[336] and I say again, the play is bitter.

_Burbadge._ Sir, you are like a patron that, presenting a poor scholar to a benefice, enjoins him not to rail against anything that stands within compass of his patron's folly. Why should not we enjoy the ancient freedom of poesy? Shall we protest to the ladies that their painting makes them angels? or to my young gallant that his expenses in the brothel shall gain him reputation? No, sir, such vices as stand not accountable to law should be cured as men heal tetters, by casting ink upon them. Would you be satisfied in anything else, sir? 76

_Sly._ Ay, marry, would I: I would know how you came by this play?

_Condell._ Faith, sir, the book was lost; and because 'twas pity so good a play should be lost, we found it, and play it. 81

_Sly._ I wonder you would play it, another company having interest in it.

_Condell._ Why not Malevole in folio with us, as Jeronimo in decimo-sexto[337] with them? They taught us a name for our play; we call it _One for another_.

_Sly._ What are your additions?

_Burbadge._ Sooth, not greatly needful; only as your salad to your great feast, to entertain a little more time, and to abridge the not-received custom of music in our theatre. I must leave you, sir.

[_Exit._

_Sinklo._ Doth he play the Malcontent. 92

_Condell._ Yes, sir.

_Sinklo._ I durst lay four of mine ears the play is not so well acted as it hath been.

_Condell._ O, no, sir, nothing _ad Parmenonis suem_.[338]

_Lowin._ Have you lost your ears, sir, that you are so prodigal of laying them?

_Sinklo._ Why did you ask that, friend?

_Lowin._ Marry, sir, because I have heard of a fellow would offer to lay a hundred-pound wager that was not worth five baubees:[339] and in this kind you might venture four of your elbows; yet God defend[340] your coat should have so many! 104

_Sinklo._ Nay, truly, I am no great censurer; and yet I might have been one of the college of critics once. My cousin here hath an excellent memory indeed, sir.

_Sly._ Who, I? I'll tell you a strange thing of myself; and I can tell you, for one that never studied the art of memory, 'tis very strange too. 110

_Condell._ What's that, sir?

_Sly._ Why, I'll lay a hundred pound, I'll walk but once down by the Goldsmiths' Row in Cheap, take notice of the signs, and tell you them with a breath instantly.

_Lowin._ 'Tis very strange.

_Sly._ They begin as the world did, with Adam and Eve. There's in all just five and fifty.[341] I do use to meditate much when I come to plays too. What do you think might come into a man's head now, seeing all this company? 120

_Condell._ I know not, sir.

_Sly._ I have an excellent thought. If some fifty of the Grecians that were crammed in the horse'-belly had eaten garlic, do you not think the Trojans might have smelt out their knavery?

_Condell._ Very likely.

_Sly._ By God, I would they[342] had, for I love Hector horribly.

_Sinklo._ O, but, coz, coz! "Great[343] Alexander, when he came to the tomb of Achilles, Spake with a big loud voice, O thou thrice blessèd and happy!" 131

_Sly._ Alexander was an ass to speak so well of a filthy cullion.[344]

_Lowin._ Good sir, will you leave the stage? I'll help you to a private room.[345]

_Sly._ Come, coz, let's take some tobacco.[346]--Have you never a prologue?

_Lowin._ Not any, sir.

_Sly._ Let me see, I will make one extempore.

[_Come[347] to them, and fencing of a congey with arms and legs, be round with them._

Gentlemen,[348] I could wish for the women's sakes you had all soft cushions; and, gentlewomen, I could wish that for the men's sakes you had all more easy standings.

What would they wish more but the play now? and that they shall have instantly. 144

[_Exeunt._

[326] The Induction was added in ed. 2.

[327] For an account of William Sly and the other actors introduced in the Induction, see Collier's _Memoirs of the Principal Actors in the Plays of Shakespeare_.

[328] _The Malcontent_ had been acted at the Blackfriars Theatre, a private theatre. It was afterwards acted at the Globe, a public theatre.

[329] It was a common practice for gallants to sit on the stage; but when a coxcomb obstructed the view by planting himself in a prominent position, the audience naturally took offence. Dekker, in the chapter of the _Gull's Horn-Book_, describing "how a gallant should behave himself at a play-house," writes:--"But on the very rushes where the comedy is to dance, yea, and under the state of Cambyses himself, must our feathered estridge, like a piece of ordnance, be planted valiantly (because impudently), _beating down the mews and hisses of the opposed rascality_."

[330] Sixpence, as we learn from the _Gull's Horn-Book_, Induction to _Cynthia's Revels_, &c., was the usual charge for the loan of a stool. Francis Lenton in his _Young Gallant's Whirligig_ tells us of an "expensive fool" who was ready to "pay an angel for a paltry stool." It was not uncommon to pay a shilling for the convenience.

[331] Dr. Karl Elze in his _Notes on the Elizabethan Dramatists_ (2nd. ser., pp. 160-4) indulges in some speculations about this actor.

[332] From _A Funeral Elegy_ on Burbadge, first printed by Collier, we learn that the great actor took the part of Malevole in _The Malcontent_:-- "Vindex is gone, and what a loss was he! Frankford, Brachiano, and Malevole."

The elegy is in the main unquestionably genuine.

[333] "A quotation from the part of Osrick in _Hamlet_. Sly might have been the original performer of that character."--_Steevens._

[334] The meaning is that in _The Malcontent_, which had been originally acted at Blackfriars Theatre, the practice of wearing feathers had been so ridiculed that the feather-makers of Blackfriars had suffered injury in their business. In v. 4 occurs the passage in which the use of feathers is ridiculed:--"For as now-a-days no courtier but has his mistress, no captain but has his cockatrice, no cuckold but has his horns, and _no fool but has his feather._" &c. Blackfriars was noted as being the residence of Puritans, many of whom followed the trade of feather-makers. There is some amusing ridicule of the Puritan feather-makers in Ben Jonson's _Bartholomew Fair_, Randolph's _Muses' Looking-Glass_, &c.

[335] Judge.

[336] Box.

[337] The expression "in decimo sexto" is used in reference to the company of the Children of the Chapel, acting at Blackfriars. Cf. Middleton's _Father Hubburd's Tales_ (_Works_, ed. Bullen, viii. 64):--"But for fear I interrupt this _small actor in less than decimo sexto_, "&c. The Children's Company at the Blackfriars seems to have appropriated Jeronimo, _i.e._, _The Spanish Tragedy_, in which the King's Company at the Globe had an interest; whereupon the King's Company retaliated by acting Malevole, _i.e. The Malcontent_. The expression "Malevole _in folio_" means "_The Malcontent_ acted by _men-actors_."--Dyce did not understand the passage.

[338] A proverbial saying. "L. S." in the Shakespeare Society's _Papers_, ii. 85 (1847), quotes from Plutarch's Symposium, v. 1:--"For upon what other account should men be moved to admire _Parmeno's sow_ so much as to pass it into a proverb? Yet 'tis reported that Parmeno, being very famous for imitating the grunting of a pig, some endeavoured to rival and outdo him. And when the hearers, being prejudiced, cried out, 'Very well, indeed, but nothing comparable to Parmeno's sow,' one took a pig under his arm and came upon the stage; and when, tho' they heard the very pig, they still continued, 'This is nothing comparable to Parmeno's sow,' he threw his pig amongst them to show that they judged according to opinion and not truth" (Creech's translation). Phædrus has a fable on the subject.

[339] Halfpennies.

[340] Forbid.

[341] "This is a pleasant exaggeration on the part of Sly. There were in all, as Stow tells, 'ten fair dwelling-houses and fourteen shops.' See 'Goldsmiths' Row' in _Handbook of London_, ed. 1850.--_P. Cunningham_ (_Notes and Queries_, 2d ser. vol. i. 71).

[342] The old ed. "he."

[343] These lines are a translation by Gabriel Harvey's younger brother John, of some lines of Petrarch, Son. cliii. They are quoted with two other "lusty hexameters" in a letter of Gabriel Harvey to Spenser. See Grosart's edition of Gabriel Harvey, i. 89-90.

[344] Rogue.

[345] Box.

[346] It was the practice for gallants to smoke in the theatre. "Fie, this stinking tobacco kills me!" says the citizen's wife, in _The Knight of the Burning Pestle_, to the gallants smoking on the stage: "Would there were none in England! Now, I pray, gentlemen, what good does this stinking tobacco do you? nothing, I warrant you: make chimnies o' your faces!"

[347] This stage direction is printed as part of the text in old ed.

[348] "This seems intended as a burlesque [?] on the epilogue to _As You Like It_."--_Reed._

_DRAMATIS PERSONÆ._

GIOVANNI ALTOFRONTO, _disguised as_ MALEVOLE, _sometime Duke of Genoa_. PIETRO JACOMO, _Duke of Genoa_. MENDOZA, _a minion to the_ Duchess of PIETRO JACOMO. CELSO, _a friend to_ ALTOFRONTO. BILIOSO, _an old choleric marshal_. PREPASSO, _a gentleman-usher_. FERNEZE, _a young courtier, and enamoured on the Duchess_. FERRARDO, _a minion to_ DUKE PIETRO JACOMO. EQUATO, } GUERRINO, } _two courtiers_. PASSARELLO, _fool to_ BILIOSO.

AURELIA, _Duchess to_ DUKE PIETRO JACOMO. MARIA, _Duchess to_ DUKE ALTOFRONTO. EMILIA, } BIANCA, } _two ladies attending on_ AURELIA. MAQUERELLE, _an old panderess_.

THE SCENE--GENOA.

THE MALCONTENT.[349]