SCENE III.

_The Presence-Chamber._

_Enter_ BILIOSO _and_ PREPASSO, _two_ Pages _before them_; MAQUERELLE, BIANCA, _and_ EMILIA.

_Bil._ Make room there, room for the ladies! why, gentlemen, will not ye suffer the ladies to be entered in the great chamber? why, gallants! and you, sir, to drop your torch where the beauties must sit too!

_Pre._ And there's a great fellow plays the knave; why dost not strike him?

_Bil._ Let him play the knave, o' God's name; thinkest thou I have no more wit than to strike a great fellow?--The music! more lights! revelling-scaffolds! do you hear? Let there be oaths enow ready at the door, swear out the devil himself. Let's leave the ladies, and go see if the lords be ready for them. 12

[_Exeunt_ BILIOSO, PREPASSO, _and_ Pages.

_Maq._ And, by my troth, beauties, why do you not put you into the fashion? this is a stale cut; you must come in fashion: look ye, you must be all felt, felt and feather, a felt upon your bare hair:[556] look ye, these tiring things are justly out of request now: and, do ye hear? you must wear falling-bands, you must come into the falling fashion: there is such a deal o' pinning these ruffs, when the fine clean fall is worth all: and again, if ye should chance to take a nap in the afternoon, your falling-band requires no poting-stick[557] to recover his form: believe me, no fashion to the falling,[558] I say. 23

_Bian._ And is not Signior St. Andrew[559] a gallant fellow now.

_Maq._ By my maidenhead, la, honour and he agree as well together as a satin suit and woollen stockings.

_Emilia._ But is not Marshal Make-room, my servant in reversion, a proper gentleman? 29

_Maq._ Yes, in reversion, as he had his office; as, in truth, he hath all things in reversion: he has his mistress in reversion, his clothes in reversion, his wit in reversion; and, indeed, is a suitor to me for my dog in reversion: but, in good verity, la, he is as proper a gentleman in reversion as--and, indeed, as fine a man as may be, having a red beard and a pair of warpt[560] legs.

_Bian._ But, i'faith, I am most monstrously in love with Count Quidlibet-in-quodlibet: is he not a pretty, dapper, unidle[561] gallant? 39

_Maq._ He is even one of the most busy-fingered lords; he will put the beauties to the squeak most hideously.

_Re-enter_ BILIOSO.

_Bil._ Room! make a lane there! the duke is entering: stand handsomely for beauty's sake, take up the ladies there! So, cornets, cornets!

_Re-enter_ PREPASSO, _joins to_ BILIOSO; _then enter two_ Pages _with lights_, FERRARDO, MENDOZA; _at the other door, two_ Pages _with lights, and the Captain leading in_ MARIA; MENDOZA _meets_ MARIA _and closeth with her; the rest fall back_.

_Men._ Madam, with gentle ear receive my suit; A kingdom's safety should o'er-peise[562] slight rites; Marriage is merely nature's policy: Then, since unless our royal beds be join'd, Danger and civil tumults fright the state, Be wise as you are fair, give way to fate. 50

_Maria._ What wouldst thou, thou affliction to our house? Thou ever-devil, 'twas thou that banished'st My truly noble lord!

_Men._ I!

_Maria._ Ay, by thy plots, by thy black stratagems: Twelve moons have suffer'd change since I beheld The lovèd presence of my dearest lord. O thou far worse than death! he parts but soul From a weak body; but thou soul from soul Dissever'st, that which God's own hand did knit; 60 Thou scant of honour, full of devilish wit!

_Men._ We'll check your too-intemperate lavishness: I can, and will.

_Maria._ What canst?

_Men._ Go to; in banishment thy husband dies.

_Maria._ He ever is at home that's ever wise.

_Men._ You'st[563] ne'er meet more: reason should love control.

_Maria._ Not meet! She that dear loves, her love's still in her soul.

_Men._ You are but a woman, lady, you must yield. 70

_Maria._ O, save me, thou innated bashfulness, Thou only ornament of woman's modesty!

_Men._ Modesty! death, I'll torment thee.

_Maria._ Do, urge all torments, all afflictions try; I'll die my lord's as long as I can die.

_Men._ Thou obstinate, thou shalt die.--Captain, that lady's life Is forfeited to justice: we have examin'd her, And we do find she hath empoisonèd The reverend hermit; therefore we command Severest custody.--Nay, if you'll do's no good, 80 You'st do's no harm: a tyrant's peace is blood.

_Maria._ O, thou art merciful; O gracious devil, Rather by much let me condemnèd be For seeming murder than be damn'd for thee! I'll mourn no more; come, girt my brows with flowers: Revel and dance, soul, now thy wish thou hast; Die like a bride, poor heart, thou shalt die chaste.

_Enter_ AURELIA _in mourning habit_.

Life[564] is a frost of cold felicity,--

_Aur._ And death the thaw of all our vanity: Was't not an honest priest that wrote so? 90

_Men._ Who let her in?

_Bil._ Forbear!

_Pre._ Forbear!

_Aur._ Alas, calamity is everywhere: Sad misery, despite your double doors, Will enter even in court.

_Bil._ Peace!

_Aur._I ha' done.[565]

_Bil._ One word,--take heed!

_Aur._ I ha' done.

_Enter_ MERCURY _with loud music_.

_Mer._ Cyllenian Mercury, the god of ghosts, From gloomy shades that spread the lower coasts,[566] Calls four high-famèd Genoan[567] dukes to come, 100 And make this presence their Elysium, To pass away this high triumphal night With song and dances, court's more soft delight.

_Aur._ Are you god of ghosts? I have a suit pending in hell betwixt me and my conscience; I would fain have thee help me to an advocate.

_Bil._ Mercury shall be your lawyer, lady.

_Aur._ Nay, faith, Mercury has too good a face to be a right lawyer.

_Pre._ Peace, forbear! Mercury presents the mask. 110

_Cornets: the song to the cornets, which playing, the mask enters_; MALEVOLE, PIETRO, FERNEZE, _and_ CELSO, _in white robes, with dukes' crowns upon laurel-wreaths, pistolets and short swords under their robes_.

_Men._ Celso, Celso, court[568] Maria for our love.-- Lady, be gracious, yet grace.

_Maria._ With me, sir?

[MALEVOLE _takes_ MARIA _to dance_.

_Mal._ Yes, more lovèd than my breath; With you I'll dance.

_Maria._ Why, then, you dance with death. But, come, sir, I was ne'er more apt for[569] mirth. Death gives eternity a glorious breath: O, to die honour'd, who would fear to die?

_Mal._ They die in fear who live in villainy.

_Men._ Yes, believe him, lady, and be rul'd by him.

_Pietro._ Madam, with me.

[PIETRO _takes_ AURELIA _to dance_.

_Aur._ Wouldst, then, be miserable? 120

_Pietro._ I need not wish.

_Aur._ O, yet forbear my hand! away! fly! fly! O, seek not her that only seeks to die!

_Pietro._ Poor lovèd soul!

_Aur._ What, wouldst court misery?

_Pietro._ Yes.

_Aur._ She'll come too soon:--O my grievèd heart!

_Pietro._ Lady, ha' done, ha' done: Come,[570] let us dance; be once from sorrow free.

_Aur._ Art a sad man?

_Pietro._ Yes, sweet.

_Aur._ Then we'll agree. 128

[FERNEZE _takes_ MAQUERELLE _and_ CELSO BIANCA: _then the cornets sound the measure, one change, and rest_.

_Fer._ [_to_ BIANCA.] Believe it, lady; shall I swear? let me enjoy you in private, and I'll marry you, by my soul.

_Bian._ I had rather you would swear by your body: I think that would prove the more regarded oath with you.

_Fer._ I'll swear by them both, to please you.

_Bian._ O, damn them not both to please me, for God's sake! 136

_Fer._ Faith, sweet creature, let me enjoy you to-night, and I'll marry you to-morrow fortnight, by my troth, la.

_Maq._ On his troth, la! believe him not; that kind of cony-catching is as stale as Sir Oliver Anchovy's perfumed[571] jerkin: promise of matrimony by a young gallant, to bring a virgin lady into a fool's paradise; make her a great woman, and then cast her off;--'tis as common and[572] natural to a courtier, as jealousy to a citizen, gluttony to a puritan, wisdom to an alderman, pride to a tailor, or an empty hand-basket[573] to one of these sixpenny damnations: of his troth, la! believe him not; traps to catch pole-cats.

_Mal._ [_to_ MARIA]. Keep your face constant, let no sudden passion Speak in your eyes.

_Maria._ O my Altofront! 150

_Pietro._ [_to_ AURELIA.] A tyrant's jealousies Are very nimble: you receive it all?

_Aur._ My heart, though not my knees, doth humbly fall Low as the earth, to thee.

_Mal._[574] Peace! next change; no words.

_Maria._ Speech to such, ay, O, what will affords!

[_Cornets sound the measure over again; which danced, they unmask._

_Men._ Malevole!

[_They environ_ MENDOZA, _bending their pistols on him_.

_Mal._ No.

_Men._ Altofront! Duke Pietro![575] Ferneze! ha!

_All._ Duke Altofront! Duke Altofront!

[_Cornets, a flourish._--_They seize upon_ MENDOZA.

_Men._ Are we surpris'd? what strange delusions mock 160 Our senses? do I dream? or have I dreamt This two days' space? where am I?

_Mal._ Where an arch-villain is.

_Men._ O, lend me breath till[576] I am fit to die! For peace with heaven, for your own souls' sake, Vouchsafe me life!

_Pietro._ Ignoble villain! whom neither heaven nor hell, Goodness of God or man, could once make good!

_Mal._ Base, treacherous wretch! what grace canst thou expect, That hast grown impudent in gracelessness? 170

_Men._ O, life!

_Mal._ Slave, take thy life. Wert thou defencèd, th[o]rough blood and wounds, The sternest horror of a civil fight, Would I achieve thee; but prostrate at my feet, I scorn to hurt thee: 'tis the heart of slaves That deigns to triumph over peasants' graves; For such thou art, since birth doth ne'er enroll A man 'mong monarchs, but a glorious soul. O,[577] I have seen strange accidents of state! 180 The flatterer, like the ivy, clip the oak, And waste it to the heart; lust so confirm'd, That the black act of sin itself not sham'd To be term'd courtship. O, they that are as great as be their sins, Let them remember that th' inconstant people Love many princes[578] merely for their faces And outward shows; and they do covet more To have a sight of these than of their virtues. Yet thus much let the great ones still conceive,[579] 190 When they observe not heaven's impos'd conditions, They are no kings,[580] but forfeit their commissions.

_Maq._ O good my lord, I have lived in the court this twenty year: they that have been old courtiers, and come to live in the city, they are spited at, and thrust to the walls like apricocks, good my lord.

_Bil._ My lord, I did know your lordship in this disguise; you heard me ever say, if Altofront did return, I would stand for him: besides, 'twas your lordship's pleasure to call me wittol and cuckold: you must not think, but that I knew you, I would have put it up so patiently. 202

_Mal._ You o'er-joy'd spirits, wipe your long-wet eyes.

[_To_ PIETRO _and_ AURELIA.

Hence with this man [_Kicks out_ MENDOZA]: an eagle takes not flies. You to your vows [_To_ PIETRO _and_ AURELIA]: and thou into the suburbs.[581] [_To_ MAQUERELLE. You to my worst friend I would hardly give; Thou art a perfect old knave [_To_ BILIOSO]: all-pleas'd live You two unto my breast [_To_ CELSO and the Captain]: thou to my heart. [_To_ MARIA. The rest of idle actors idly part: And as for me, I here assume my right, 210 To which I hope all's pleas'd: to all, good-night.

[_Cornets, a flourish. Exeunt._

[555] Some copies of ed. 1. "distuned."

[556] Some copies of ed. 1. "head."

[557] Sticks for setting the plaits of ruffs. They were first made of wood or bone, but afterwards of steel.

[558] Some copies of ed. 1. "falling-band."

[559] Some copies of ed. 1. "St. Andrew Jaques."

[560] Ed. 2. "wrapt."

[561] This is the reading of ed. 2.--Some copies of ed. 1. give "windle." Perhaps the true reading is "wimble" (= nimble), a word which Marston uses in _The First Part of Antonio and Mellida_ (see p. 58).

[562] Outweigh.

[563] Contraction of "you must."

[564] Given to _Aurelia_ (perhaps rightly) in ed. 2. and some copies of ed. 1.

[565] "I ha' done," &c.--Old eds.:-- "_Aur._ I ha done; one word, take heede, I ha done."

[566] Regions.--"Marche. A region, _coast_, or quarter."--_Cotgrave._

[567] Some copies of ed. 1. "Genoa."

[568] Ed. 2. "count."

[569] Ed. 2. "to."

[570] Some copies of ed. 1. "come downe."

[571] A _frotted_ jerkin--a jerkin in which sweet oil had been rubbed. Cf. _Cynthia's Revels_, v. 2:-- "_Amo._ Is the perfume rich in this jerkin? _Per._ Taste, smell; I assure you, sir, pure benjamin, the only spirited scent that ever awaked a Neapolitan nostril.... I frotted a jerkin for a new-revenued gentleman yielded me three score crowns but this morning, and the same titillation."

[572] Old eds. "as."

[573] Omitted in some copies of ed. 1.

[574] Old eds. "_Pietro._"

[575] Some copies of ed. 1. "_Lorenzo._"

[576] Some copies of ed. 1. "to liue till."

[577] "O, I have seen ... so patiently" (ll. 180-202).--This passage was added in ed. 2.

[578] Some copies read "men."

[579] Old ed. "conceale."

[580] Some copies read "men."

[581] Where the bawdy-houses were located.

AN[582] IMPERFECT ODE, BEING BUT ONE STAFF,

SPOKEN BY THE PROLOGUE.

To wrest each hurtless thought to private sense Is the foul use of ill-bred impudence: Immodest censure now grows wild, All over-running. Let innocence be ne'er so chaste, Yet at the last She is defil'd With too nice-brainèd cunning. O you of fairer soul, Control 10 With an Herculean arm This harm; And once teach all old freedom of a pen, Which still must write of fools, whiles't writes of men!

[582] The "imperfect ode" and the epilogue are not found in some copies of ed. 1.

EPILOGUS.

Your modest silence, full of heedy stillness, Makes me thus speak: a voluntary illness Is merely[583] senseless; but unwilling error, Such as proceeds from too rash youthful fervour, May well be call'd a fault, but not a sin: Rivers take names from founts where they begin. Then let not too severe an eye peruse The slighter brakes[584] of our reformèd Muse, Who could herself herself of faults detect, But that she knows 'tis easy to correct, 10 Though some men's labour: troth, to err is fit, As long as wisdom's not profess'd, but wit. Then till another's happier Muse appears,[585] Till his Thalia feast your learnèd ears, To whose desertful lamps pleased Fates impart Art above nature, judgment above art, Receive this piece, which hope nor fear yet daunteth: He that knows most knows most how much he wanteth.

[583] Wholly.

[584] Clearly another form of _bracks_, _i.e._, cracks, flaws.

[585] A fine compliment to Ben Jonson.

END OF VOL. I.

PRINTED BY BALLANTYNE, HANSON AND CO. EDINBURGH AND LONDON.

Transcriber's Note:

Minor punctuation errors were corrected. Footnotes were renumbered sequentially and were moved to follow the section of text or scene of the play in which the related anchors occur. Phrases in Greek have been transliterated. Words in italics are surrounded by underscores, _like this_. Superscripted letters are preceded by a carat, li^{ke} thi^s. The text of prose portions of plays was not wrapped, to maintain the line numbers.

Anomolies noted and retained unchanged:

Both the prologue and the first scene of Act V of "Antonio's Revenge" are identified as "Scene 1." Footnotes [78], [237], and [478] each have two anchors that refer to the note. Line counts in the original do not appear to be accurate in several places.

Changes to text:

Introduction - 'indentified' to 'identified' ... he is to be identified with ... First part of Antonio and Mellida, Act III, Scene 1, line 113: duplicate "myself" removed from ... Well, ere yon sun set, I'll show myself myself,... The Malcontent, Act V, Scene 3, line 88: duplicate "a" removed from ... Life is a a frost of cold felicity,...

End of Project Gutenberg's The Works of John Marston, by John Marston