[Page]FIVE NEW PLAYS, VIZ.
- The Surprisal,
- The Committee,
AND
- The Indian-Queen,
- The Vestal-Virgin,
- The Duke of Lerma,
As they were Acted by His MAJESTY's Servants at the Theatre-Royal. Written by the Honourable Sir ROBERT HOWARD.
The Second Edition Corrected.
LONDON, Printed for Henry Herringman, and are to be Sold by R. Bentley, J. Tonson, F. Saunders, and T. Bennet. MDCXCII.
TO THE READER.
THere is none more sensible than I am, how great a Charity the most Ingenious may need, that expose their private Wit to a publick Judgment; since the same Phancy from whence the Thoughts proceed, must probably be kind to its own Issue: This renders Men no perfecter Judges of their own Writings, than Fathers are of their own Children; who find out that Wit in them which another discerns not, and see not those Errors which are evident to the unconcern'd. Nor is this self-kindness more fatal to Men in their Writings, than in their Actions; every Man being a greater Flatterer to himself than he knows how to be to another; otherwise it were impossible that things of such distant Natures shou'd find their own Authors so equally kind in their affections to them, and Men so different in Parts and Virtues, should rest equally contented in their own Opinions.
This Apprehension, added to that greater which I have of my own Weakness, may I hope incline the Reader to believe me, when I assure him that these Follies were made publick as much against my Inclination as Judgment: But being pursu'd with so many Sollicitations of M r Herringman's, and having receiv'd Civilities from him, if it were possible, exceeding his Importunities; I at last yielded to prefer that which he believ'd his Interest, before that which I apprehended my own Disadvantage: Considering withal, That he might pretend it would be a real Loss to him, and could be but an imaginary Prejudice to me; since things of this nature, though never so excellent or never so mean, have seldom prov'd the Foundation of Mens new-built Fortunes, or the Ruine of their old; it being the Fate of Poetry, though of no other good Parts, to be wholly separated from Interest; and there are few that know me but will easily believe I am not much concern'd in an unprofitable Reputation. This clear account I have given the [Page] Reader of this seeming Contradiction, to offer that to the World which I dislike my self; and in all things I have no greater an ambition than to be believ'd a Person that would rather be unkind to my self, than ungrateful to others.
I have made this excuse for my self, I offer none for my Writings, but freely leave the Reader to condemn that which has receiv'd my Sentence already. Yet I shall presume to say something in the justification of our Nation's Plays, though not of my own; since in my Judgment, without being partial to my Country, I do really prefer our Plays as much before any other Nations, as I do the best of ours before my own.
The manner of the Stage-Entertainments have differ'd in all Ages; and as it has encreas'd in use, it has enlarg'd it self in business: The general manner of Plays among the Ancients we find in Seneca's Tragedies for serious Subjects, and in Terence and Plautus for the Comical; in which latter we see some pretences to Plots, though certainly short of what we have seen in some of M r Johnson's Plays; and for their Wit, especially Plautus, I suppose it suited much better in those days than it would do in ours; for were their Plays strictly Translated, and Presented on our Stage, they would hardly bring as many Audiences as they have now Admirers.
The serious Plays were anciently compos'd of Speeches and Chorus's, where all things are related, but no matter of Fact presented on the Stage: This Pattern the French do at this time nearly follow, only leaving out the Chorus, making up their Plays with almost entire and discoursive Scenes, presenting the business in Relations: This way has very much affected some of our Nation, who possibly believe well of it more upon the account that what the French do, ought to be a Fashion, than upon the Reason of the thing.
It is first necessary to consider why probably the Compositions of the Ancients, especially in their serious Plays, were after this manner; and it will be found, that the Subjects they commonly chose drove them upon the necessity, which were usually the most known Stories and Fables: Accordingly, Seneca making choice of Medea, Hippolytus, and Hercules Oetus; it was impossible to shew Medea throwing old mangled Aeson into her Age-renewing Caldron, or to present the scattered Limbs of Hippolytus [Page] upon the Stage, or shew Hercules burning upon his own Funeral Pile: And this the Judicious Horace clearly speaks of in his Arte Poetica, where he says,
So that it appears a fault to chuse such Subjects for the Stage, but much greater to affect that Method which those Subjects enforce; and therefore the French seem much mistaken, who without the necessity sometimes commit the Error; and this is as plainly decided by the same Author in his preceding words;
By which he directly declares his Judgment, That every thing makes more impression Presented than Related: Nor indeed can any one rationally assert the contrary; for if they affirm otherwise, they do by consequence maintain, That a whole Play might be as well Related as Acted: Therefore whoever chuses a Subject that inforces him to Relations, is to blame; and he that does it without the necessity of the Subject, is much more.
If these Premises be granted, 'tis no partiality to conclude, That our English Plays justly challenge the Preheminence; yet I shall as candidly acknowledge, That our best Poets have differed from other Nations (though not so happily) in usually mingling and interweaving Mirth and Sadness through the whole Course of their Plays, Ben Johnson only excepted, who keeps himself entire to one Argument; and I confess I am now convinc'd in my own Judgment, That it is most proper to keep the Audience in one entire disposition both of Concern and Attention; for when Scenes of so different Natures immediately succeed one another, 'tis probable the Audience may not so suddenly recollect themselves, as to start into an enjoyment of the Mirth, or into a concern for the Sadness: Yet I dispute not but the Variety of this World may afford pursuing [Page] Accidents of such different Natures; but yet though possible in themselves to be, they may not be so proper to be Presented; an entire Connexion being the natural Beauty of all Plays, and Language the Ornament to dress them in, which in serious Subjects ought to be great and easie, like a high-born Person that expresses Greatness without pride or affectation; the easier dictates of Nature ought to flow in Comedy, yet separated from obsceneness, there being nothing more impudent than the immodesty of Words: Wit should be chast; and those that have it can only write well.
Another way of the Ancients which the French follow, and our Stage has now lately practis'd, is to write in Rhime; and this is the dispute betwixt many Ingenious Persons, Whether Verse in Rhime, or Verse without the sound, which may be called Blank Verse, (though a hard Expression) is to be preferred? But take the Question largely, and it is never to be decided, but by right application I suppose it may; for in the general they are both proper, that is, one for a Play, the other for a Poem or Copy of Verses; a Blank Verse being as much too low for one, as Rhime is unnatural for the other: A Poem being a premeditated form of Thoughts upon design'd Occasions, ought not to he unfurnish'd of any harmony in Words or Sound: The other is presented as the present Effect of Accidents not thought of; so that 'tis impossible it should be equally proper to both these, unless it were possible that all Persons were born so much more than Poets, that Verses were not to be compos'd by them, but already made in them. Some may object, That this Argument is trivial, because, whatever is shew'd, 'tis known still to be but a Play; but such may as well excuse an ill Scene, that is not naturally painted, because they know 'tis only a Scene, and not really a City or Country.
But there is yet another thing which makes Verse upon the Stage appear more unnatural; that is, when a Piece of a Verse is made up by one that knew not what the other meant to say, and the former Verse answered as perfectly in Sound as the last is supplied in Measure; so that the smartness of a Reply, which has its Beauty by coming from sudden Thoughts, seems lost by that which rather looks like a Design of two, than the Answer of one. It may be said, That Rhime is such a confinement to a quick and luxuriant [Page] Phancy, that it gives a stop to its speed, till slow Judgment comes in to assist it; but this is no Argument for the Question in hand, for the dispute is not which way a Man may write best in, but which is most proper for the Subject he writes upon; and if this were let pass, the Argument is yet unresolv'd in it self; for he that wants Judgment in the liberty of his Phancy, may as well shew the defect of it in its Confinement; and to say truth, he that has Judgment will avoid the errors, and he that wants it will commit them both. It may be objected, 'Tis improbable that any should speak ex tempore as well as Beaumont and Fletcher makes them, though in Blank Verse; I do not only acknowledg that, but that 'tis also improbable any will write so well that way; but if that may be allowed improbable, I believe it may be concluded impossible that any should speak as good Verses in Rhime as the best Poets have writ; and therefore that which seems nearest to what it intends, is ever to be preferr'd: Nor are great Thoughts more adorned by Verse, than Verse unbeautified by mean ones; so that Verse seems not only unfit in the best use of it, but much more in the worse, when a Servant is call'd, or a Door bid to be shut in Rhime. Verses (I mean good ones) do in their height of Phancy declare the labour that brought them forth, like Majesty that grows with care; and Nature that made the Poet capable, seems to retire and leave its offers to be made perfect by Pains and Judgment: Against this I can raise no Argument but my Lord of Orory's Writings, in whose Verse the Greatness of the Majesty seems un [...]ullied with the Cares, and his unimitable Phancy descends to us in such easie Expressions, that they seem as if neither had ever been added to the other, but both together flowing from a height; like Birds got so high, that use no labouring Wings, but only with an easie care preserve a steddiness in Motion: But this particular Happiness, among those multitudes which that excellent Person is Owner of, does not convince my Reason, but employ my Wonder: Yet I am glad such Verse has been writ for our Stage, since it has so happily exceeded those whom we seem'd to imitate. But while I give these Arguments against Verse, I may seem faulty that I have not only writ ill ones, but writ any; but since it was the fashion, I was resolv'd, as in all indifferent things, not to appear singular, the danger of the Vanity being greater than the Error; and therefore I followed it as a Fashion, though very far off.
[Page]For the Italian Plays, I have seen some of them which have been given me as the best; but they are so inconsiderable, that the Particulars of them are not at all worthy to entertain the Reader; but as much as they are short of others in this, they exceed in their other Performances on the Stage; I mean their Opera's, which consisting of Musick and Painting, there's none but will believe it is much harder to equal them in that way, than 'tis to excel them in the other.
The Spanish Plays pretend to more, but indeed are not much, being nothing but so many Novels put into Acts and Scenes, without the least attempt or design of making the Reader more concern'd than a well-told Tale might do; whereas a Poet that endeavours not to heighten the Accidents which Fortune seems to scatter in a well-knit Design, had better have told his tale by a Fire-side, than presented it on a Stage.
For these times wherein we write, I admire to hear the Poets so often cry out upon, and wittily (as they believe) threaten their Judges, since the effects of their Mercy have so much exceeded their Justice, that others with me cannot but remember how many favourable Audiences some of our ill Plays have had; and when I consider how severe the former age has been to some of the best of M r Johnson's never to be equal'd Comedies, I cannot but wonder why any Poet should speak of former times, but rather acknowledge that the want of Abilities in this Age is largely supply'd with the Mercies of it. I deny not but there are some who resolve to like nothing; and such perhaps are not unwise, since by that general resolution they may be certainly in the right sometimes, which perhaps they would seldom be, if they should venture their Understandings in different Censures; and being forc'd to a general liking or disliking, lest they should discover too much their own Weakness, 'tis to be expected they would rather chuse to pretend to Judgment than good Nature, tho' I wish they could find better ways to shew either.
But I forget my self, not considering, That while I entertain the Reader in the Entrance with what a good Play should be, when he is come beyond the Entrance he must be treated with what ill Plays are: but in this I resemble the greatest part of the World, that better know how to talk of things than to perform them, and live short of their own Discourses.
And now I seem like an eager Hunter, that has long pursu'd a Chase after an inconsiderable Quarry, and gives over weary, as I do.
THE SURPRISAL, A COMEDY. Written by the Honourable Sir ROBERT HOWARD.
LONDON, Printed for Henry Herringman, and are to be Sold by R. Bentley, J. Tonson, F. Saunders, and T. Bennet. M DC XCII.
Dramatis Personae.
- CAstruccio, Uncle to Miranzo. Miranzo.
- Cialto, Friend to Miranzo the late General.
- Brancadoro, A rich Senator's Son.
- Villerotto, A bold Fellow cashier'd by Cialto, and got into Brancadoro's Service.
- Moreno, Father to Emilia.
- Bottolo, His Servant. Two or three Bravoes.
- Baptista, Servant to Miranzo. A Friar.
- Samira, Sister to Miranzo.
- Emilia.
- Taccola, Her Governess. A Nun.
Scene SIENNA.
PROLOGUE.
THE SURPRISAL.
ACT I.
SCENE I.
TIS strange, Sister.
'Tis true, Brother.
Perhaps it is; but few such Wonders have been heard of.
Nor ever such a Wonder caus'd it.
There needs indeed a powerful Charm to raise up Spirits fettered long in Age. (They say, that) Love is the Soul's business here, when Youth seems to promise it shall have a long share in Time; but his is fitted for its Journey; Age already hath pack'd up all his Faculties.
Fie, fie, 'tis otherwise with him; he endeavours, nay, and (I think) believes he shall grow young again: the warmth of Love serves for the heat of Youth.
Where (in the name of wonder) could this Love find entrance in his breast? or how live there? it has no blood to feed on; Nature sure in him is at low ebb.
There needs small Fewel (Brother) to assist her influence; she li [...]e the Sun, warms all things with her sight, yet is not wasted with expence of heat.
You speak a Miracle, Sister.—
—You seem troubled, Brother.
Not much—but—I did believe, when my dear Father left us to his care, he did not apprehend my Uncle apt for such a folly; and I little thought to have been first saluted with this News at my return from Travel.
My Uncle still pretends to remain just to us; and I believe he will.
It may be so: But when is this hot Lover to be married?
Tomorrow morning.
But what mov'd her consent to take this Mummy in her Ams?
She's all obedience to her Father, and with him my Uncle's Wealth pleads high. I do believe she thinks choice were a sin, and would seem guilty to her self, as if she fell from perfect Innocence, if that a partial thought for any should make a way for passion in her breast.
Then it seems her Father wooes; I hope my Uncle spares his pains.—But Sister, since we are in discourse of Lovers, 'tis not [Page 2] unseasonable to ask for yours, the brave Cialto; the last Intelligence I had was of his glorious Victory; such a Lawrel ne'r yet adorn'd a Brow so youthful. Believe me, Sister, though you may be cruel, and unconcern'd, I must confess I share in all that's his good fortune.
Alas, Brother, since that time his condition is much alter'd.
Ha—you amaze me:—Why do you appear so sad? He is not dead I hope.
No, perhaps his Life is now the greatest part of his misfortune.
Still I am lost in admiration. What changes a little time produceth?
The Story is too long to tell you; only for what concerns my self, I have observ'd, that since the loss of all his Fortunes, he shun [...] all occasions of seeing me.—My Uncle will be with us presently; I would not therefore ingage my self in a disorder, which the relation of his miseries cannot but bring upon me.
Where is my Uncle?
Abroad upon a strange design. He has imploy'd the best Wits in Sienna to make a Song, or indeed an Apology, for his doting at these years; and that which he likes best when he salutes his Mistress, must to morrow be presented before her Window.
I am amaz'd; yet I'le suspend my thoughts and trouble (if I can) till fitter time.
How he mumbles to himself! sure he does chew the cud of some set Speech. What an amorous look was there?—with that amiable smile?—which only adds a few wrinkles in new places.
Pray let's stand close; He's near beginning; a rising wind you know is ever usher'd with a murmur.
How am I swell'd by expectation! as the day breaks before the rising Sun, so is Emilia's fair approach prepar'd within me, by a precious sense of happiness.
Peace; he has hit a fault, and now begins to hunt again.
O, these be they; now to my choice; for I resolve to morrow, 'fore the Wedding, one of them shall be sung, that which I judge will best describe my Passion.—Let me see,—
Could'st thou be yet more fair or good,
This Fool begins with impossibilities,
Ple have none on't:—What this other?
Since fancy makes all Women fair,—
Worse and worse, he lies abominably: What ways are our Poets got into, they cannot make a Song without a Lie, a Vapour, or Impossibility? There's none of these has hit my fancy yet: Once again.—Oh, this I like well; a very pretty Masque, short, and full of variety; the Charges wont to be great,—let me see,—here is a Hymen, a Cupid, a Charon, and the Destinies: for the Hymen a saffron Robe and a Torch,—hang cost at such a time; it shall be presented instead of a Song before her Window, when I first appear; 'tis better than after the Wedding at night, when every body's sleepy. Now I'le go see my Nephew, and bid him welcome from his Travels.
Step out, Brother, there's your Cue.
Can these Lovers see, trow?
My dear Nephew I—were thy brave Father living, thou could'st not fill his Arms and Breast with a mo [...] welcome joy; I'le be sworn [Page 3] thou art return'd with all advantages in Fame and Person.
Your kindness, Sir, sees more in me than your Eyes.
Nay, believe me, Nephew, I joy in't; and that I could not do, were it not visible what cause I have sor't.
I wish I may continue, Sir, worthy your fair Opinion.
And how, Man? Merry still?
I take nothing to heart, Sir; It seems you do; for my Sister tells me, I am come seasonably to see your Joys made perfect every way, at least as you imagine.
Oh, Nephew, 'tis past Imagination. Nephew, thou canst not phancy what she is; in Woman kind no president is found to shew thee her: But you it seems do apprehend that all my future Actions will shew me more her Husband than your Uncle.
You mistake me, Sir; neither my Nature nor my Fortunes yet are prest with such mean thoughts; what I have said was more my care for you than for my self; I would not have your last days shut up with Folly or Misfortune.
Fear not, fear not; I must be happy; it is an injury to her to doubt it.
He is unreasonably possess'd.
But I forget—My dearest Niece, you shall perceive that neither my concerns nor passion hinder my just care of thee, my best Samira. I have provided such a Fortune for you;
Nay, start not at it.—'Tis the rich Heir, young Brancadoro; this day he comes to visit thee, we'l quickly make it up.—Come, good Nephew, I have much to do; within I'll tell thee all my mind.
How—
Peace, Sister.
Marry Brancadoro! Is that the happiness I hope, I may depend? I shall enjoy with him the Curses of his ill-got Wealth, and rise upon the poor Cialto's ruins. Oh what a Crime was my feign'd Cruelty! Me thinks I am as guilty as this thriving Asses Father, and seem an accessary to all Cialto's wrongs, because I did not openly declare my Passion for him; that would have rendred me uncapable of being now a Party: It is too much.
Morrow to your Honour; how do you like your Cloths?
I like my Cloths well enough, but my Man Jocamo says, you are such a dear cheating kind of Tayler, that I vow he'll have me turn you away; my last Mourning Suit did not cost me half so much.
Your Man is a pick-thank Knave. Call me Cheat! I'll ne'r work stitch for ye more as long as I live, unless you pay me for calling me Cheat.
Nay, stay, stay; what a devilish Fellow are you now to exact upon me, because you see I love you? The Devil take you for me; what Composition must you have?
I'll have forty shillings, and I'll have it in Gold too.
Pox take you for me; will not Silver serve your turn, when you know I love Gold so well? Pray ye heartily, now Jack, take Silver.
I vow Gold, or fare you well.
Stay, and be hang'd then; here, here; now are you good [Page 4] Friends, Jack? nay, I vow now speak truth.
Yes, I vow I forgive you
Look ye here's my Man. What a devilish Rogue are you to rail at my Taylor Robin, and say he cheats me?
Pray Sir view his Bill; in the first place here is fifteen Shillings a Yard for Stuff of half a Crown.
Why look ye there now Jack; what a strange Rogue are you now to cheat me so?
What a strange piece of Ignorance is your Man, to call it Stuff? I protest my Lord 'tis o'th' same piece that the King of France his Wedding Suit was on; the Stuff is call'd Adam man hee; King Haccamantacu sent the King of France three pieces of it; and I bought this of his Tayler a purpose for you; and your wise Man calls it Stuff, forsooth.
Look you there now, you blockheadly Fool you; what would you more? prethee how do ye call the Stuff, and the King that sent it, Jack.
The Stuff is call'd Adam man hee, and the Kings Name is Haccamantacu.
What a Mountebank Rogue is this?
I vow that's fair satisfaction; I wou'd not for my Money but know this; I vow, I vow, 'tis very pretty.
Pray ye ask him why he sets down forty Shillings for making a riding Coat.
Nay, but I vow, Jack, the Devil take ye for me, for being so base; why forty shillings now?
There is ten Shillings for making your Coat, and thirty Shillings for a Port-hole for your Sword to peep out at.
Why, is not that very fair now? Why, art thou grown a stark Fool now? Prethee, Jack, what is a Port-hole? I vow thou hast the pretriest Names.
A Port-hole is, as the vulgar have it, a kind of Slit; but in France it is call'd Port-hole, and is made with a whiff down here, and a whiff down there; they are very chargeable.
I vow, thou art a pretty Fellow: but has the King of France his Port-hole made with a whiff down here, and a whiff down there, as mine is?
But here's Villerotto; I vow I must talk
A little wiser to him.
How dost thou like my Cloths, Villerotto; are they not brave, fit for my quality?
Exceeding brave, Sir.
I long'd to be out of Mourning, to shew my self; for whilst my Father liv'd I never could appear.
No, he was asham'd you shou'd.
Besides, I hate this Mourning, it makes my hands so devilish dirty; and I will not wash them till my Mother dies; and when I have done Mourning for her, I'll wash them for good and all.—Well, and what says my Council?
Why, they say, Sir by these Writings Cialto has no justice to [...]edeem, nor can it bear dispute in any Court of Equity.
None, Sir,—but by the Senate.
But they won't, I hope.
So do I; but how if such a thing shou'd be?
How so?
What care I.—How now?—what's your business?
Oh, I thank him; 'tis very well.
Will it not be dangerous for you to go?
Whither?
To visit your Mistress? you may meet Cialto there.
Let him be afraid of me if he will.
I doubt he will not.
To what?
To cut your Throat.
Yet there's another way would do your business.
You consider not the danger of Cialto's revenge.
But you may prevent it.
How, prethee?
Wou'd he wou'd die then.
Men do not use to do it for a wish.
Why, how then?
Wou'd you hang your self if Cialto shou'd desire it?
Which way, which way?
To do what?
To kill him.
Do you believe such stories?
To morrow, Sir, and her leave yet unask'd!
No more than an Eunuch wou'd, I dare swear for him.
Very well, Bottolo, I thank you.
I wish it may continue so, Mistress.
Dost thou fear I shall be sick?
What dost thou talk of?
Why should he do that?
Away, you Fool.
Peace, you Fool, and be not rude.
ACT II.
SCENE I.
Is there a generous Cause for breach of Friendship?
See, my Sister.
Cialto.
Sir.
What's the matter?
Most earnestly, even to threatning me.
[...]e may be injurious.—
Peace, they come; be temperate, Cialto.
Come, Nephew, (for so I dare venture to call you.)
Heaven send us joy of our wise Kindred.
Why, you have them both on.
I had forgot, like an Ass as I was, to hide one.
Come, come on.
Fie, Nephew, my Niece sees you.
You an't tell how she likes me, can you, Uncle?
O, [...]ear not that.
I need no such testimony, Sir.
I wou'd you had, Sir.
Why, how shou'd I have had you then?
I must have been content, Sir.
How's this!
Peace, does this Coxcomb move you?
'Tis as he tells you, Niece.
You had need consider indeed for such a Fortune.
Why, I say, A bargain's a bargain.
This is monstrous! I can hold no longer.
Consider, you may do hurt.
How the Ass shakes and bristles both together.
You are uncivil in my House.
Pray, Sir, go; this does no good.
Come, you are to blame; you may do injury.
Seem to comply, dear Sister; I'll tell you why hereafter.
I have seen him, Sir.
Wou'd he had had a wiser Son.
As for my Mothers part—
She brought forth an Ass.
SCENE II.
Fear not, fear not. Save you, Gentlemen.
And you, Sir.
We have found that.
Yes, damn'd, without dispute.
Oh admirable Reason!
'Tis most profound, and never to be answer'd.
Are you convinc'd then?
Yes, yes, yes.
SCENE III.
'Tis well you can continue merry.
Come, what's the matter?
Nothing.
That's unkind.
Pray urge me not.
Is there any thing to be conceal'd from Friends?
Yes, trouble and misery.
No more, or find some other friend.
Pray let me know it.
You shall; but I must beg another thing.
What's that?
O, by no means, Sir, not for a World.
Why, 'tis no great matter,—I'le kill Brancadoro.
How!
Nay, your Wonder is as unnecessary as your Counsel.
Have you consider'd what you said?
Yes, and I find it reasonable, I admire you do not.
I do not say, it has; but yet—
No, Sir, 'twas a business of another nature.
Nay, I cannot stay to talk of business now.
You must, Sir.
Must, Sir!
I think you must; your Honour will enforce you.
Why, what has my Honour to do with't? Must!
Well, another time, another time.
The last! well, that mollisies somewhat; What is't then?
Life in his condition is but useless to him.
Why he may hang himself.
I' [...] not try, Sir.
I consider not that, Sir.
That I think you may. Sure he dares not fight, does he?
'Slid, he amazes me.
I marry, Sir; nor will I alter it.
SCENE IV.
Why the Gentleman, you know who—
That hir'd us to do you know what.
Had still more to say to us, he's very earnest
I had rather he were in jest.
I wou'd afford any one a penniworth of my share.
Hast got him dispatch'd already?
As good, Sir; 'tis sure.
But had I best marry before it be quite done?
Fear not, Sir; trust to my care and faith.
But be sure.
Nay, if you suspect me, Sir.
ACT III.
SCENE I.
Your pleasure, Sir.
Governess. Taccola.
Here, Sweet Charge.
Yes, yes, I know them all.
Peace then, and observe.
What be these Men?
Yes, yes; who's he that leads his fair Niece?
Peace, they begin.
As soon as the Masque begins the Curtain draws, and Emilia appears; Miranzo keeps his eyes fix'd on her all the while the Masque is presented.
The Persons being all plac'd about the Stage,
Enter a Cupid, who waves an Arrow, and speaks. Cup. Hymen, O gentle Hymen, come away.
When Loves great God Commands, I never stay.
Then light it thy Torch.
Then light at that aged Lovers breast.
Why, Charon, why?
First I resign my Arrows and my Bow.
The Fates submit their dreadful Ensigns too
By all means.
SCENE II.
Well, well; Pox on't, I take no joy in this Wedding.
Nay, prethee no discourse now, honest Bottolo.
Thou deserv'st it twice, where I do it once, Sirrah.
What's the matter?
Nothing, Mistress.—Ah, 'tis a thousand pities.
Have you brought my Things, Governess?
Yes, my sweet Charge.
Where's the Company?
They all stay for you in the Hall.
I go, I go.
Stay, stay, fairest Maid.
What's your pleasure, Sir?
Leave us a little, Governess.
Pray quickly, Sir; I am staid for.
That's part of it.
Of what?
Why, of my business, to desire you not to go.
Why, you go to be married, do you not?
Yes; what do you mean? Pray leave me.
I must not, nay, I cannot leave you.
I forgive you freely.
This then finishes my Wooing.
Hold; you do not mean so madly!
I mean thus, soberly.
Not by dying, do I?
Oh, you have ruin'd me! what shall I do!
You may pretend a sudden sickness, Madam.
Be gone, and leave the most unhappy of all Women.
O, sweet Charge, there's old calling for you.
How, how!
Prithee peace.
Nothing, nothing; prithee along, I faint.
SCENE III.
That reasonable Reward would prove a Julio.
Come, Bottolo, prithee come and help to look her.
O Bottolo, Bottolo! run, run, Bottolo.
Whither, Sir?
Why, what ails my Mistress?
O mischief! No hearing of my Niece!
My Daughter, my Daughter's going.
Never a hopeful Morning so o'recast!
O my Mistress! O my Niece! Undone, undone.
SCENE IV.
Not married to Brancadoro, nor ever shall.
To the Nunnery.
Thither she told me she would go.
'Tis well.
How! is't possible?
Sir.
Hast thou not told me thou hast a Brother is a Friar?
I have, Sir, in the next Convent.
What mean you, Sir?
SCENE V.
What's the matter?
How, fled and gone!
Gone, gone.
He's not in the House, Sir.
We are all abus'd and cheated.
SCENE. VI.
We are marvellously kept on duty; not one Allarm yet?
What are you squeamish still, Captain?
How now? what's here to do?
Your Prisoner, Slave!
If he be not, your life shall satisfie.
'Tis not in our bargain to deal with Women.
What, will you murder me? help, help.
Ah me!
Oh, I am ruin'd.
Troth, like enough; and possibly you have deserv'd it.
Rascal, what dost thou mean to do with us?
Nothing with your Antiquity.
Come, follow me; thrust home and sure.
I, I, so we might.
Doubt not your full reward.
SCENE VII.
You are too noble.
Heavens direct and send you peace of mind.
SCENE VIII.
'Twill be hard to find.
What horrid Act is this! How, Cialto!
Villains, make up; sure I have sped him.
So bold, Sir?
What caus'd this foul play, Sir?
Holy Sir, you know as much as I.
How do you feel your self?
How, Miranzo! O, my Friend, what means this Habit?
Thy Mistress!
Why, is he not married?
No.
How so?
At what, Man?
You wou'd absolve her, wou'd you not?
Pish, I scarce feel my hurts.
What is your business, Father?
I am sent from Father Vincentio, unto the Lady Emilia.
Here's no such person.
How! 'tis not the Custom of holy places to deny truths.
Nor is it now practis'd.
She came not to this place.
Nor Samira, Castruccio's Niece?
By all that's holy, neither.
All Peace dwell with you.
I am amaz'd!
Do not wonder; you cannot lose your Sister, sure.
Not lose her!
I hope so; for 'tis probable she knows your mind.
What's your design in that report?
You will not do it then.
I wou'd know why.
Nay then.
ACT IV.
SCENE I.
You stare as if you did not know me.
Know you? how shou'd we know you?
Wou'd he had mine, where I cou'd wish it.
Must!
'Tis well you are a Man of Peace, or else—
Not half so much as he is.
We do not understand you.
How, our Swords!
You wou'd deliver them however.
Good Sir, disgrace us not.
Well, Sir, you are merry, and we take our leaves.
O, good Sir, we will do any thing.
Yes, Sir.—Come, my Masters.
We will confess all we know, Sir.
Yes, and more too, if that will do't.
Come, despair not then.
SCENE II.
They are deaf, or else at Prayers.
And my Mistress too, Nephew.
What means this earnest knocking at the Gates?
What a foolish question's that? we wou'd come in.
Our Laws forbid that men shou'd enter here.
Why he'l beat her; 'tis a fierce Hector.
What is it you demand, or whom?
I know not what you mean.
We thank you.
Here are no such persous as you enquire for.
I hope you do not mean to be injurious.
This is strange; but we must believe.
But we may chuse whether we will or no.
We thank you.
Farewel, Signior; we'l lose no time neither;
Pox of her Note; neither she nor Samira are here.
Who told you this?
Why, a little harlotry Nun.
She lyed sure.
What was that?
Yes, your Enemy is dead.
For certain?
So 'tis reported generally.
I hope not, Sir.
There is a way, Sir, to secure you.
Name it, name it, good Villerotto.
And consent I shall be gone.
Soft, Sir something is first to be consider'd on.
What's that? what's that?
First tell me, Sir, is there no news of the Ladies?
No, no; neither tale nor tidings.
Not a syllable; I have told you all.
What wou'd you give, Sir?
What wou'd you give to marry her?
Why, she may run away afterwards, for ought I know.
I marry, Sir; do this, and I'll give thee twenty Crowns.
What is't? let's see.
There's the Sum, Sir.
But if thou shou'dst not help me to her.
Then I'll be gone, and forfeit my Reward.
Yes, I know him as well as I know my self.
How's this!
Plague on that holy Rascal.
Hey, hey, a Friar! what Friar, Villerotto?
They grow concern'd; it works.
Like enough; I must do't.
With all my Heart.
No, Sir.
Nor cou'd you hear what Friar this is?
I am almost a Stranger in Sienna.
I shou'd be glad to have that in my power, Sir.
What mean you, Sir?
Hark you, a word in private.
O happy Accident! I am ravish'd with my good Fortune.
What means all this? I'll try the bottom of it.
I am ready, Sir.
You must engage to Secrecy.
Upon my holiness.
Nay, you have forsworn that already in your discourse.
Upon my life, Sir.
I shall observe all you direct.
What does he mean, trow?
You oblige me, Sir.
SCENE. III.
What means the Villain?
O give him gentle words, his Looks are dreadful.
Give him Rats-bane.
Fear not, Emilia; the Villain dares not wrong us.
But the Villain dares revenge his Wrongs.
Who has injur'd thee?
What dost thou mean?
Pish.
What dost thou mean,—Screech-Owl?
O Heaven protect us.
Thou dost not mean to ravish us, dost thou, Varlet?
Us! canst thou be ravish'd, old willingness?
O for some help! I'll tear the Villain.
Our Slave!
But we are willing to beg yours, good gentle Sir.
Beg not so meanly, he dares not injure us.
What do you mean?
Which two d'you mean?
Monster, dar'st thou entertain a Thought of such a Villany?
For what?
For my embraces.
For those of Snakes first.
O, mine are gentler far.
Villain, thou—
Be merciful, and kill us.
Ah, Madam, what shall we do?
Die, Emilia.
When, Madam?
Presently.
Alas, I tremble at your naming it.
Why do you shake? you must dye one day?
Which way shou'd we do it?
What is't?
To kill me first.
That were to commit Murder.
Shall we know one another there?
ACT V.
SCENE I.
Sir.
Ha, Baptista!
For what, Sir?
For killing my Kinsman Cialto.
We hope he is not dead.
Was it his Masters instruction?
I, no doubt on't, Sir.
Did he say so?
Yes, and more too.
What more?
You know him when you see him?
Yes, yes, Sir.
Good Sir, let us not suffer, we have your word.
Trust to it; have you any more to say?
Nothing, Sir, of any consequence.
Wel, what trivial thing have you?
How, Women? what Women? speak, quickly, ha—
Why does your Worship grow angry?
Speak, Dogs, what Women?
You must be over-doing it.
It may be it was Samira and Emilia: Rogues, what Women?
Remember your promise, Sir.
I had forgot to ask, what did the slave do with them?
He sent them Prisoners to his Master's House, as we think.
SCENE II.
I must weep, since I must part with you.
Fear me not.
Strike, Emilia, strike home be sure.
Can this be real!
This amazes me.
Sure 'tis real?
Ha, deceived?
Ah me?
Dost thou take pains to appear Devil?
Monster, Devil, wilt thou not permit us a way to dye?
Kill us, Sir, and yet we will believe you gentle.
Help, help.
Help, help.
Some help, good Heaven.
No help left us!
Help, help, murder, murder!
Then 'twas the Ladies, Sir, cry'd out, it seems.
O Sir, for Heavens sake help us: we shall be—
Stop your mouth, or I'll stop it for you.
No, no, be gone; you grow impertinent.
But if you please, Sir, to hearken to my opinion.
A seasonable interruption.
Nay, prethee, I will but—
What, I must salute her first, Man, in good manners.
But why thy Sword, drawn Man?
Come, you must, Sir.
'Slid, whose Master? You or I? take heed of my fury.
Good Signior Brancadoro, help us; hear us.
I will not, I say.
Go, go.
I'll follow him, and get some help.
They were our Cries, Sir.
'Tis impossible.
Miranzo!
My Brother.
What must become of us?
O take heed!
Now you may kill us; you have got a Sword▪
Ha, Miranzo, are you Metamorphosed from a Friar?
This shall tell thee, Villain.
Hold—
O, Cialto!
'Tis well, we know one another then.
My Sword says no.
My Forgiveness! this is my Indemnity.
Nay, I think I may drive this through your Shield.
For Heavens sake let me go.
And Heaven protect you.
Now, Sir, what think you?
That I shall presently be quiet, and think no more. Help, help.
You injure me to ask it; go dry Samira's Eyes.
For what?
For pursuing you with all my miseries.
Generous Sir, I owe an equal Obligation to you.
Now spare me a minute.
What means he?
I know not.
Now I guess; peace, this will be good sport.
I, that was when I was married to Samira. But not else.
Wou'd marriage make you Valiant?
When I have try'd, you shall know my mind.
What does he mean?
Nay, stand still.
Here, Sir.
Troth, you will hardly fight then
It's no matter whether I am or no.
Pray let me have't again.
So you shall, when I have nothing else to do with it.
No, do't your self, Sir.
What is the meaning of all this?
I guess now, you'l perceive all presently.
Oh! Mir. How is it?
Too well; I have life enough to spend in Curses.
O Devil!
He makes me tremble still.
Now, my most wealthy Signior, do you know these Gentlemen.
Do you know them, angry Sir?
Why, you need not be angry; they have not had their full hire.
They deserv'd none, they did not do their business.
What was that business they shou'd have done?
Why, cut your Throat.
Compound, Signior; 'tis your best way.
What say you, noble Undertakers?
Why, Sir, we must confess—
'Tis needless, Sir, 'tis needless; I will do any thing.
Are you willing? you may hang else.
No, I can't endure that I'm sure, nor hardly th'other.
What to do?
To restore your Estate again.
That I shall never get; but I must consent.
Fear not, Signior; you have the Publick Faith for't.
I am charm'd.
I hope, noble Signior, you will forgive Villerotto too.
Pray forgive him, Sir; he may repent.
Yes, I do repent.
That's well said; of what?
Bold impudent Dog,
Come, we'l force him to be good.
I think it must be forc'd.
He will die snarling.
I would die biting.
Wou'd he had been hang'd before he bit me.
Away with him.
See, Emilia, your Father, and my Uncle.
Gentlemen, no words; you remember our Bargain.
Doubt us not.
O, my dear Father, are you still as ready to forgive me as you were wont?
Your pardon, Uncle, joyn'd to this, will make me and Emilia happy▪
You honour me, to own a Title in me.
What say you, Signior Brancadoro?
I say any thing, Sir.—God's my life, I can scarce hold from crying.
THE COMMITTEE, A COMEDY. Written by the Honourable Sir ROBERT HOWARD.
LONDON, Printed for Henry Herringman, and are to be Sold by R. Bentley, J. Tonson, F. Saunders, and T. Bennet. M DC XCII.
Dramatis Personae.
- COlonel Carelesse.
- Colonel Blunt.
- Lieutenant Story.
-
Committee-Men
- Nehemiah Catch.
- Joseph Blemish.
- Jonathan Headstrong.
- Ezekiel Scrape.
- Mr. Day, the Chair-man to the Committee.
- Abel, Son to Mr. Day.
- Obadiah, Clerk to the Committee.
- Tavern Boy.
- Bayliffs.
- Souldiers.
- Two Chair-Men.
- Gaol-Keeper.
- Servant to Mr. Day.
- A Stage Coachman.
- Bookseller.
- Mrs. Arbella.
- Mrs. Day.
- Mrs. Ruth.
- Mrs. Chat.
SCENE LONDON.
PROLOGUE.
THE COMMITTEE.
ACT I.
SCENE I.
Yes, and please you.
I am not very sad.
O the Devil! I have given her a new Theam—
Why, I'll tell you—Can you guess how 'twas?
Not I truly. But 'tis no matter, I do believe it.
A top o'th' Coach sure.
I have not been deficient in my care, Forsooth.
Very well.
Are you so apt to pity men?
Nay prithee don't, he'l think thee rude?
Why, I am worse after it.
Do you love riding in a Coach, Sir?
No, Forsooth, nor talking after riding in a Coach.
Prithee peace: Sir—We wish you all happiness.
Thou speak'st as if thou had'st been at Sea?
It's pretty well guest, I have been in a storm.
What business brought thee?
What storm, Man?
Prithee, how man?
Thou wei't not be so mad?
I'll woo no Woman.
By my troth it is too little.
Ever since I came hither, i'faith.
And what do'st thou do now?
Cry for them every day, upon my soul.
Why, where's thy Master?
Who was thy Master?
E'en the good Colonel Danger.
He was my dear and noble friend.
Yes, that he was, and poor Teg's too, i'faith now.
What do'st thou mean to do?
Why, man?
Alas, poor simple fellow.
Why, I will say thou wilt do very well then.
That I will i'faith, if thou would'st be good too.
Thank thee, Teg—A Covenant, sayest thou?
Well, where is that Covenant?—
We'l not swear, Lieutenant.
You must have no Land then.
Then farewel Acres, and may the dirt choak them.
Prithee, how did'st thou light upon this good fortune?
Plague on this Covenant.
Curse it not, 'twill prosper then.
If we cou'd but do that, Wife?
Yet again at your Ifs.
Excellent.
Pish, do not interrupt me.
I do not, good Duck, I do not.
Yes, yes, we use those Items often.
Well, interrupt me not.
I do not, good Wife.
I, I, there's a want I found it.
Yes, when I told you so before.
Thou hast hit upon my own thoughts.—
I will, Duck; Ruth, why, Ruth.
Your pleasure, Sir.
Nay, 'tis my Wife's desire that—
What does she call a few?—
And I say something too, Ruth.
You may well, when you heard me say it so often.
O Son Abel, d'ye hear.
Now, Brother Abel.
Now, Sister Ruth?
I have not known her a Week yet.
Must I go apace or softly.
God save you, Mistress.
This will do well if I forget it not.
Well, try once.
I apprehend you now, I shall observe.
I go.
What do'st thou laugh at, Ruth?
Didst thou meet my Brother Abel?
No.
What do'st thou mean;
Who is he to wooe?
Even thy own sweet self.
Out upon him.
Must be.
Yes, Committee-Men can compel more than Stars.
I deny that.
How?
You amaze me.
No doubt, or keep your composition from you.
Peace.
ACT II.
SCENE I.
Yes, what then, Sir?
Which is that Covenant?
Why, this is the Covenant.
Well, I must take that Covenant.
You take my Commodities?
I must take that Covenant, upon my soul now, that I must.
Stand off, Sir, or I'll set you further.
Your Master must pay me for't then?
What a Devil does the fellow mean?
Stand off, Sirrah.
I'faith I will take it now.
Prithee how com'st thou to think of Marrying?
She's beholding to you.
Prethee make but that good?
I have done one thing for thee now, that I have indeed.
What hast thou done, Man?
Where hadst it thou?
Come, Gentlemen, some calls; how now, who's this?
O Plague, what work, Ras—
Prethee be quiet, Man; are they to sit presently?
As soon as I can get ready, my presence being material.
The sight of any of the Villains stirs me.
What's the meaning of this, I'll try to steal by him.
Now you shou'd speak, Forsooth.
What you please, Forsooth.
Why, truly, Sir, 'tis as you say; I did not see you.
This is lucky.
No, Forsooth, 'twas I that was not to see you.
Why, Sir, wou'd your Mother be angry if you shou'd?
You have great acquaintance, Sir?
Yes, they ask my opinion sometimes.
What weather 'twill be; have you any skill, Sir?
When the weather is not good, we hold a Fast.
And then it alters.
Assuredly.
In good time—no mercy, Wench.
I dare not, my Mother will be angry.
O hang you.
And how has Abel behav'd himself, Wench, ha?
O this plaguy Wench!
Why, what's the matter?
I am beholding to you, I may cry quittance.
So it is given in.
Come on Son Abel, what have you to say?
'Slife, he's at's lessen, Wench.
That was the Letter I invented.
O dam the Vultures!
Peace Man.
And then good night to all.
How's this Gentlewoman?
A brave noble Creature.
My own Enemy.
Come on, Gentlemen, what's your case?
The particulars are right.
Can you afford it no cheaper?
'Tis our rule.
No.
What sport are we now like to have?
What Fellow's that?
A poor simple Fellow that serves me. Peace, Teg.
Let them not prate so then.
I, I, you make an Idol of that honour.
Brave Gentlemen.
I stare at 'em till my Eyes ake.
Providence, such as Thieves rob by?
What's that, Sir, Sir, you are too bold?
It is well you are so merry.
Swear not then.
You grow abusive.
You will think better on't, and take this Covenant.
'Tis their witty Daughter I told thee of.
Nay, prithee let's go.
If they do, I'll not take it.
Brave Lady, I must love her against my will.
Without taking the Covenant?
Yes, but I would invent another Oath.
Upon your Lips.
Nay, I am not bound to discover.
Prithee come, is this a time to spend in fooling?
Now have I forgot every thing.
You are rude: Door-keeper, put 'em forth there.
Come forth, ye there; this is not a place for such as you.
Ye are a Rascal, that you are now.
Let him pay for't.
Here, you must pay, or lye by the heels.
Here, here's a Shilling for thee, be quiet.—
That had been Six-pence.
Hark ye, Arbella, 'twere a sin not to love these men.
I am not guilty, Ruth.
Has this honourable Board any other Command.
ACT III.
SCENE I.
How, Kitchen-stuff acquaintance!
Mad, Teg!
Why, what didst thou say to him?
Well now, I did ask him if he wou'd take any Counsel.
Was there ever such a mistake?
Well, how is that? a Kitchen-maid? where is she now?
The Lieutenant advises well.
We shall have Teg mistake again.
Why, what then?
Not for a thousand pounds, Teg; thou mayst undo us all.
What further design canst thou have?
With both, man?
'Slife thou art jealous, do'st love either of 'em?
Nay, I can't tell, all is not as 'twas.
And why prethee?
Because I can say nothing to them.
Canst thou love any of the other Breed.
But I have more hopes than thou hast.
That day, wench?
Nor I to tell thee; shall we go ask Lilly which 'tis?
Pish, I'le speak if it be the same, we'l draw cuts.
O admirably well, dear wench, do it once more.
Nay, nay, I must do the 'tother now.
Stand fair, the Enemy draws up.
You are hasty, Sir.
Nay, forsooth, you do not understand my meaning
Well, know? who are all you?
What's here, an Irish Elder come to examine us all.
Well know, what is your names, ever one?
Peace, what shou'd it mean?
Well, cannot some of you all say nothing?
What shou'd I fetch now?
Day D'you know who you speak to, Sirrah?
You must not be so saucy unto her Honour.
Well, I will knock you, if you be saucy with me then.
This is miraculous.
Is there none of you that I must speak to now?
Now, wench, if he shou'd be sent to us.
Well I wou'd have one Mrs. Tay speak unto me.
Day. Well, Sirrah, I am she: what's your business?
How the fellow begins to mould himself.
Sirrah, sirrah, what were you sent to abuse me?
As sure as can be.
Why do'st thou mock thy self now joy?
You are a bloody Rascal, I warrant ye.
You are a foolish brabble bribble Woman, that you are.
Ye Rascally Varlet, get you out of my Doors.
Will not I give you my Message then?
Get you out, Rascal?
I prethee let me tell thee my Message?
Get you out, I say.
Keep his Dam off, and let me alone with the Puppy.
Fear not.
As soon as ever I have done. Is't good news, Wench?
Quickly then, Girl.
I protest he may be hurt indeed; I'll run my self too.
Art sure of this?
So far I am right; Fortune take care for future things.
At whose Suit, Rascals?
You shall know that time enough.
Time enough, Dogs; must I wait your leisures?
I cou'd gnaw a piece or two of you, Rascals.
Murder, Murder.
Faith, Careless, this was worth thanks, I was fairly going.
What was the matter, Man?
Well come, let's away.
Shall I tell of Mrs. Tay now?
O good Teg, no time for Messages.
It's very well.
I shall intimate so much to him.
How is't, Man?
Did it so, Sir? and what have you to say?
What d'you mean, Sauce-box?
I do not use to have acquaintance with Cavaliers.
How, Sirrah?
How now! what, matters grow worse and worse?
'Slife, I'll stop your mouth, if you raise an Alarm.
Stop my mouth, Sirrah, whoo, whoo, ho.
What's the matter, Forsooth.
What's this? d'hear, pretty Gentlewoman.
Well, well, I know your mind, I have done your business.
Oh, his stomach's come down!
Nay, now you'r out; the danger run after me.
You may dissemble.
Whither?
To your Chamber or Closet.
But I am ingag'd you shall take the Covenant.
No, I never swear when I am bid.
But you wou'd do as bad?
That's not against my principles.
We'll excuse one another.
You wou'd not have me take the Covenant then.
Are you not the Committee Day's Daughter?
Yes, what then.
Yet you wou'd beget right understandings.
Yes, I wou'd have 'um all Bastards.
And me a Whore.
How, taken and carried to the Devil!
I understand it now; what mischief's this?
You seem troubled, Sir.
I have but a life to lose, that I am weary of: come, Teg.
Stay but a minute, if you have any kindness for me.
Yes, I do love you.
What's the matter?
What do'st thou tell me, I am ready to sink down!
I can do so verily, my self being a material party.
Pox on 'em, how slow they speak.
I am thankful.
What may this mean?
How can that be?
No question now. Will you march, Sir?
Whither?
I will stare upon thee though.
ACT IV.
SCENE I.
I, I, we thought how well you'd get Bail.
Chuse, chuse, come along with him.
How now, are these any of your Friends?
Never if you see Women, that's a Rule.
But my Mother doth not know it.
Well, Sir, we know Mr. Day, and Mr. Abel.
This is miraculous.
A brave Lady: I'faith Mrs. we'll drink your health.
Well, shew us the way, and let him know who I am.
No, no, you'll serve my turn; I am not ambitious.
Peace, she begins as need requires.
You are free, Sir.
Not so free as you think.
What hinders it?
Nothing, but I'll tell you.
Why, Sir?
You'll laugh at me.
Upon two conditions you shall know it.
Well, make your own Laws.
Well, the other.
Prethee, peace.
I shall contain, Sir.
That's much for a Woman to do.
Now, Sir, perform your promise.
Careless, have you done with your Woman?
Madam—
Was there ever such humour?
As I live his confession shews nobly.
He's honest, I dare swear.
That's more than I dare swear for my Colonel.
Out upon him.
I shall use expedition.
Soft and fair goes far.
I shall break some of their Wings then.
What's that?
How's this?
What train is this?
Peace, let us not be rash, Teg.
Well then.
It needeth not, nor do I use to drink healths.
Upon that consideration I shall attend a little.
Go wait upon him, now Teg or never.
I will make him so drunk as can be upon my Soul.
What a Devil shou'd this Message mean?
Only fill up one with his Master's name.
Well, we must resolve what to do.
Come, let's hear.
Gentlemen, will you have any Musick?
Prethee no, we are out of tune.
I can sing many Songs. You seem honest Gentlemen.
I will sing Irish for the King now.
I will sing for the King as well as you. Hark you now.
No, Sir, but I can play you an excellent Irish Jig.
Drawer, who waits there?
What d'you want Gentlemen?
I go, Sir.
How's that, Teg.
Yo, yo.
How Colonel, have you forgot your poor Souldier Ned.
How if she shou'd be coy?
What news you have.
Look you, Wife.
Pish, teach your Grannam to spin; let me see.
To do what?
To fly out of Egypt.
But whither shall we go?
Come make haste then.
I can't tell; nay prethee come away.
Nay, prethee dispatch.
I come.
What's this? we are undone.
Mr. Teg, will you dance, Mr. Teg.
Put a good Face on't, or give me the Van. O, 'tis Obadiah fallen.
What do'st mean?
Some small Beer, good Mr. Teg.
He made a good end, and departed as unto sleep.
D—d—drinking, the Ki—Ki—Kings's Health.
I go, I go, Duck.
He is exceedingly over-whelmed.
Why Ruth, I say, Thieves, Thieves!
Where's Ruth, and Mrs. Arbella?
I have not seen them a pretty while.
Be not in wrath.
D'lye too, ye drunken Rascal?
Have you taken the Covenant? that's the question.
Yea.
Make not thy self a scorn.
Scorn in thy Face; void, young Satan.
I pray you walk in, I shall be assisting.
You do not move.
Then do I stand still, as fast as you go.
ACT V.
SCENE I.
COme along, Sir, I'll teach you to take Covenants.
O you are an impudent Rascal. Come, away with him.
What has he taken away?
Thank ye, noble Sir.
Yes, but I will carry no more, look you there now.
Why, Teg?
God sa'my Soul now, I shall run away with it.
Pish, thou art too honest.
That's well said, Teg.—
Nay, no resistance now.
What's the matter, Rascals?
Teg, tell 'em I shall not come home to night, I am engag'd.
I prethee ben't engag'd.
Gentlemen, I am guilty of nothing, that I know of.
That will appear, Sir: away with him.
What will you do with my Master now?
Be quiet, Sir, or you shall go with him.
That I will for all you now.
Teg, come hither.
Must not I go with you then?
No, no, be sure to do as I tell you.
See, Mistress, here's one of them.
What shou'd I do?
Sir.
Lady—'tis she.
To make Affidavit of it.
What do you mean to do, Sir?
Do not run your self into a needless danger.
Do not ask what you may tell your self.
Most perfectly.
And I may trust him.
With your Life.
What uncertainties pursue my Love and Fortune.
Yes, Mrs. and committed by your Father Mr. Day.
This goes ill; may I speak with him, Sir?
Mr. Day's Daughter speak with me?
I, Sir, there [...] is.
For what?
But [...] Day's Daughter will be there too?
'Tis dark, we'll ne'er see her.
And you wou'd quench it.
And you shall kindle it again.
Oh noble—but what?
Can I help Nature?
Who's that?
Why, the honourable Mrs. Day that now is.
Will you believe me if I swear?
I that I will, though I know all the while 'tis not true.
Thou more than—
I'll leap into thy arms.—
Not a bit of me, till I am all Yours.
Pish, there's a dirty Glove upon't.—
Do you go first.
Nay, sie, go in.
Fear it not.
I'll dispatch it instantly, therefore get to your place.
I warrant ye.
How shou'd I be a Man then?
How, a Souldier! betray'd! this Rascal shan't laugh at me.
Dog.
How Blunt!
Careless!
How the Devil got you a Souldiers habit?
Who's there?
Two notable charging Red-coats.
As I live, my heart is at my mouth.
The Ladder of Ropes: How a Gods name got you hither?
Why, I had the Ladder of Ropes, and came down by it.
I will stay to tell thee, I shall never deserve thee.
Are you sure of this, Neighbour Chat?
I'm as sure of it, as I am that I have a Nose to my Face.
Let me advise then, Husband.
Do, good Duck, I'll warrant 'em.
You'll warrant when I have done the business.
I mean so, Duck.
I shall perform it.
I thank your Honour.
Look up, Madam, and meet your unexpected joys.
Oh my dear Friend, my dear, dear Ruth.
When did we hug last, good Souldier?
If she had deny'd it, Colonel, I would have betray'd her.
Keep't in and choak your self, or get the rising of the lights.
What shall I say?
Say something, or he'll vanish.
Or may I perish whilst I am swearing it.
How now, Jack!
Nor will I Charles forsake you Annice.
'Slife, I love her now for all she has jeer'd me so.
Wou'd 'twere his Neck were broke.
My Duck tells you how 'tis—we—
Anne, if you please.
Who gave you that Name pray?
As newly come out of our Wardships, I hope Mr. Abell is well.
Truth on't is, we did take something else.
Oh, did you so?
D'hear, Sir, how long is't since you have practis'd Physick?
Physick, what d'ye mean?
I am undone.
Peace, good Mrs. Anne, I am undone if you betray me.
The Souldiers are come.
Are the Souldiers come, Abel?
Yes, but my Father biddeth me send 'em away.
Nay, good sweet heart, come, I pray let us be Friends.
Haste, good Abel, march not off so hastily.
We will endeavour.
Come, Mrs. Arbella, pray let's all be Friends.
With all my heart.
I bear my afflictions as I may.
Teg, I shall require thy honesty.
Yes, Sir.
Epilogue.
THE Indian Queen, A TRAGEDY. Written by the Honourable Sir ROBERT HOWARD.
LONDON, Printed for Henry Herringman, and are to be Sold by R. Bentley, J. Tonson, F. Saunders, and T. Bennet. MDCXCII.
Dramatis Personae.
- THE Ynca of Peru.
- Montezuma his General.
- Acacis Son to Zempoalla.
- Traxalla General to Zempoalla.
- Garrucca, a faithful Subject to Amexia.
- The God of Dreams.
- Ismeron, one of their Prophets, a Conjurer.
- Officers and Souldiers.
- Peruvians and Mexicans.
- Priests.
- Amexia, the lawful Queen of Mexico.
- Zempoalla, the Usurping Indian Queen.
- D Orazia, Daughter to the Ynca.
- Attendants of Ladies.
PROLOGUE.
THE Indian Queen.
ACT I.
SCENE I.
Then ask a Kingdom; say where thou wilt Reign.
Our Ynca's Colour mounts into his Face.
His Looks speak Death.
And all besides too low.
Once more I bid thee ask.
Hold, Sir.
Unhand me.
Can a Revenge that is so just be ill?
It is Orazia's Father you wou'd kill.
Orazia, how that name has charm'd my Sword?
Your Honour is oblig'd to keep your trust.
He broke [...]hat Bond in ceasing to be just.
Subjects to Kings shou'd more Obedience pay.
Subjects are bound, not Strangers, to obey.
You are my Prisoner, and I set you free.
'Twere baseness [...]o accept such Liberty.
From him that Conquer'd you, it shou'd be fought.
No, but from him, for whom my Conqueror fought.
Still you are mine, his Gift has made you so.
He gave me to his General, not his Foe.
What succour can the Captive give the Free?
Hark, hark.
Stop your Pursuits, for they must pass through me.
Where is the slave?
Gon.—
Whither?
Oh, I am blest.—
ACT II.
SCENE I.
Do not meet death; but when it comes then dye.
Stand, Sir, and yield your self, and that fair prey.
You speak to one unpractis'd to obey.
Would you so great a prize to him resign?
Can Montezuma place me in his Breast?
My heart's not large enough for such a Guest.
See, Montezuma, see, Orazia weeps.
Dread Empress—
What Prince—
Pray say no more.—
How now, whither so fast?
Ha, what do'st thou say?
Be temperate, Friend.
ACT III.
SCENE I.
Is that young Man the Warrior so renown'd?
Unthankful Villain, hold.
Be gone, and do as I command, away.
I ne'er was truly wretched 'till this day▪
What grief is this which in your face appears?
The badge of sorrow, which my Soul still wears.
Yours be the joy, be mine the punishment.
He, and the Princess, Madam.
Are they met?—
No, but from whence is all this Passion grown?
'Twas a mistake.
Thank ye, I shall consider.
Beauty has wrought compassion in your mind.
Yes by my self, not you—
Princes are sacred.
Great Queen.
ACT IV.
SCENE I.
Thee and thy Love and Mischief I despise.
Rash Stranger, thus to pull down thy own fate.
You, and that Life you offer me, I hate.
Death will release me from these Chains and thee.
They are just gone, Sir.
This shall to the Empress.
Ha!—
Think what a weight upon thy Faith I lay.
I ne'er did more unwillingly obey.
'Twas our surious Love.—
What wou'd you do.—
That saves no [...] his, but throws your Life away.
Duty shall give what nature once must pay.
Seize them—
Oh, Montezuma, thou art lost.
He bleeds, but yet may live.
Now, Fate, thy worst.
ACT V.
SCENE I.
You are too bold—
And you too passionate.
I hate thy offer'd mercy more than thee.
Tempt me not thus, false and ingrateful too.
Just as ungrateful, and as false as you.
'Tis thy false love that fears her destiny.
And your false love that fears to have him dye.
Seize the bold Traytor.
And leave Orazia—
I both Forgive, and Pity—
Crazia.—
Why must I tamely wait to perish last?
To Armes, to Armes.
From whence this sudden fear?
Am I betrayed?
Can I not gain belief, that this is true?
It is my fortune I suspect, not you.
First ask him if he old Garrucca know.
My honoured Father, let me fall thus low.
She has expir'd her latest breath.
But there lies one to whom all grief is due.
None e'er was so unhappy and so true.
Your Pardon, Royal Sir.
You have my Love.
The Gods, my Son, your happy choice approve.
EPILOGUE to the INDIAN QUEEN,
THE VESTAL VIRGIN, OR, THE Roman Ladies. A TRAGEDY. Written by the Honourable Sir ROBERT HOWARD.
LONDON, Printed for Henry Herringman, and are to be Sold by R. Bentley, J. Tonson, F. Saunders, and T. Bennet. M DC XCII.
- Emilius, A Roman Senator of great Quality.
- Sertorius, One that had been a General; a brave Man, of a high Spirit.
- Sulpitius, His Brother, of a treacherous Nature.
- Mutius, One that had been a Lieutenant of a Province, a Lover of War.
- Artabaces, Prince of Armenia, driven from his Country by the Romans.
- Tiridates, His younger Brother, Pris'ner at large in Rome, and kept as Hostage till his Brother came in.
- Caska, Servant to Sertorius.
- Corbulo, and four or five more Veterans.
- Hersilia, Daughter to Emilius.
- Verginia, Her Sister, the Vestal.
- Marcellina, Their Cousin.
SCENE ROME.
PROLOGUE.
THE VESTAL VIRGIN, OR, THE Roman Ladies.
ACT I.
SCENE I.
NOT speak to her, nor see her!
But for a few days.
A minute is too much.
Be but patient.
And tamely wait upon my Rival's triumph.
You do mistake.
I care not whence they came, I like 'em not.
Am not I your Brother!
Consult a little with your prudence.
You have not patience but to hear the Circumstance.
Well, well, what is't? quickly then.
'Tis more than you deserve.
Then keep it for your self.
Um'h.
Now, Sir, is the Circumstance so trivial?
But was this all she said?
Was not this enough?
As I suppose.
I will be sure of that,—or else—
That's true,—but—
But what?
I did not name you.
I wish Hersilia had not nam'd you.
You are my Friend.
Cou'd you dislike what she commands!
Did she not tell you why?
Yes, I do.
What pity does he need?
That I despise.
I both observe and wonder.
Nor did that hinder me to own my Love.
Your hopes upon her Father's friendship move.
The greatness of my love is its own aid.
Hold, hear me a word!
Pish.
Yes, and from Hersilia's cruel Lips.
No.
How!
Whence came they then?
From me.
And your invention.
O Monster.
Thus I embrace the offer.
All treachery dwells only in thy Breast.
I can be tame no longer.
O does the mask fall off!
Let us together then dispatch the Traytor.
Tortures seize thee.— Tiridates.
Enough.
I'll follow too: O you need say no more.
ACT II.
SCENE I.
Are you my Father, Sir?
What does my Father mean?
Can you guess the cause?
Not in the least.
D' you love one of them?
Thus his ingratitude the more is shown.
But you deserve much more than he can do.
Sir.
What wonder, Sir?
I know not what you mean.
Your Passion, Sir!
Vertue by truth receives no injury.
Have you sped, Sir?
You shall not fail to have it, Sir.
You need not, Sir, repeat commands to me.
When will Tiridates meet?
Noble Sertorius.
You mean Sulpitius.
I shou'd be glad to see him.
Prethee look him.
Brave Mutius, never more happily met.
That's well; did you not meet Sertorius?
No, why d'ye ask?
Quiet Rogues; they were brave Souldiers.
Have they lost their Spirits?
This way a little, Mutius; you are my Friend.
I must use your Sword, Mutius.
Here it hangs ready, 'tis almost rusty.
The quarrel is Hersilia.
That she must only judge.
Not if you cou'd come at 'em, Mutius.
Pray let your Friends stay a little.
Stay, Gentlemen.
Fire a House, Mutius!
I hey may live to love Hersilia.
Dare these Men stick by us?
They shall eat Gold.
'Troth I believe they can digest it too.
Name it, Sir, and think it done.
Speak but the thing, Sir.
Whither shall we fly, Sir?
When wou'd you have it done, Sir?
Presently, before suspicion can have time to grow.
I'll do it, Sir; be sure that you wait ready.
Beyond sick Men, ready to dye for you.
Where shall our Rendezvouz be?
Have you plac'd the Horses where I appointed?
Yes, Sir.
To what purpose, Sir?
But how, Sir, shou'd I send you word?
Prince Tiridates, Sir,
This is a cruel Service, Sir.
Dispute it not
Hold, hold, as you have Honour, hold.
Ha, Caska What tempts thee to this Folly?
Take heed you do not play the Fool.
Can this be true!
Or I am more a Villain than I was us'd to be.
ACT III.
SCENE I.
No, by no means, fair Creature.
Are you not a Man?
That's an odd question—yes.—
You shou'd be then my Father.
That's right, a man indeed shou'd be her Father.
Or is there any other man besides my Father?
She's mad, over-heated with the Fire.
Rewards cou'd never yet my Soul incline.
I can invite you then no other way.
Command me to my Death, and I obey.
Sure all Mankind are not thus vertuous too.
All Womankind do less resemble you.
I had forgot to ask your Name.
You need not doubt; I know not where to go.
What are you?
Why, men.
You wou'd not be thus rude then.
Indeed you must.—Away with her.
This is strange, I mistrust something.
And leave you thus!
Sir.
'Slife, 'tis not she.
You seem concern'd at some mistake.
She was not tall, Sir.
Is all consum'd?
O Sertorius! which way, Sir, was the noise?
'T was on the other side.
So I have heard.
Agreed;—in equal hopes now both are tied.
But when we meet our wishes must divide.
Pity is Love, and then it need not grow.
We shou'd deny our own Affections still.
O that I cou'd restore your Liberty.
May I not dare to wish a little more?
Help, help, these are the Villains.
You shall have her thus, Dogs.
Unhand me, Slaves.
O help.
You call for that you need not.
Slaves, Dogs.
—Slaves, I will not go.
Drag him along.
ACT IV.
SCENE I.
But is he gone already? Can it be?
What, are you troubled at his Liberty?
Did he not ask to see me ere he went?
He said not much: I know not what he meant.
Perhaps you did refuse that small Request?
I cou'd not grant that which he ne'er exprest.
Alas, what have I done?
O be more gentle.
—Yes, when you are kind.
Storms hardly will teach Calmness to a Mind.
What Flames were those?
Will you no more appear in such a Rage?
That, Rascal.
I have done.
You said Pity was Love.
Ah me! what storm is falling on us now?
No Thunder dwells upon a humane brow.
Vain slighted Villain.
Prethee then do.—
—Then hear me swear.
Fortune, by me, now offers to be kind.
'Tis not thy Honour urges, but thy Love.
Your pleasure, Sir?
I will, Sir.
Tempests by Show'rs sometimes are laid to peace.
And when you weep for me, my Storms will cease.
If 'twere hard, it were all one to me.
Why do you shew such struglings in your Breast?
Ha, Tiridates dead!
Have I o'er-took you Villain with your Prize?
There's none is over-took but he that flies.
Defend me now, Sulpitius.
Let my Revenge and Wrongs assist your Sword.
What, do I see? Marcellina!
Hersilia!
What Sorrows do you wear? Or what's my Crime?
We trifle out our Safety with the Time.
Stay—let me tell him.—
——'Tis in vain, [...]away.
That Villain does betray you.
What does he say?
——He raves, [...]o matter what.
I'll hear him speak.
——Away, it is too late.
And shall we thus know one another there?
Else we shou'd want a Blessing we have here.
Here, where is yours?
——Searching to find yours out.
'Tis Death, that kindly thus it self divides.
ACT. V.
SCENE. I.
Are you busie, Sir?
O wondrous busie.
In what?
An honest Man wou'd then be welcome sure.
Not to this place.
To you, I hope.
Troth I have but little business for him.
Do you not want a curtesie?
Yes, and one to do it.
Pray try me, Sir.
With all my heart;—help me to a Sword.
That's hard.
So are most curtesies; prethee do me an easie one▪
What's that?
Be gone, and leave me.
The Lady!—ha—didst thou not say the Lady?
Yes, I did.—It takes.
Um'h.
That's too hard too.
No, I will do't.
Are you sure of it?
Stay there a little, and you shall see.
This Fellow sure has inclinations to be honest.
'Tis done; watch there.
My best Corbulo.
Then, Sir, now believe.
Perhaps there is a way to set you free.
Can I be so, and you want liberty?
'Tis I must bring you freedom at the last.
O hold, remember what a Vow you past,
Revenge will be no plea to those above.
But they will hearken unto injur'd Love.
The gods will hear no business comes from thee.
I'll send you on my errand.
The Gods reward what I can never pay.
What do you mean?
—Without there, ho, Corbulo.
O treacherous Slave.—
Oh Sir, by all—
How, burn out his Eyes!
—O hold, he bids you stay.
He stays to meet his death that dares delay.
But you may want pity from those above.
Not now, since they deny'd it in your Love.
They'll make me pay, if you will make me owe.
No.
Ha!—the reason, Slave?
I think such horrid business was not in our bargain.
Am I thus paid?
Alas, what does he mean to do?
Mischief, no doubt.
No, we have wander'd, you may lose your way.
Take heed left I suspect some ill design.
Suspicion will be more your fault than mine.
Help, Tiridates.
Villain, look back, and see thy Death.
Who's that names the unfortunate Tiridates?
—Alas, 'tis dark with me.
Heaven reward you.
Who's there?
Are you not dying too? O, let me know.
'Tis out of Order without Nature's call.
Oh!
—Ha—
By all these signs of Death, here it shou'd be.
Just as the last Words were spoke, Mr. Lacy enter'd, and spoke the EPILOGVE.
Thus it was Acted the Comical way; the Alteration beginning in ACT IV. towards the latter end, after these words,
—And injur'd Love—
When 'tis deny'd I use to force my way.
What Love, Sertorius?
Mine is the same, and never can be less.
In ACT V. the Alteration begins at these Words.
O, I thought you wou'd repent.
Well then, you are resolv'd?
Take her away, and instantly about it.
—Well, we know it.
Come, Sir, are you ready?
For what?
For darkness.
Time's precious.
Well, such a small Request I'll not deny.
Come, are you ready?
—Yes, for miseries.
Here are hot Looking-Glasses for your Eyes.
My Irons cool.
Come, I must stay no longer:—If you dare—
What does he mean?
Suspition will be more your [...] than mine.
Ha, Tiridates! O Villain!
Look here, false Man, and see thy Death pursue.
Thine, Mutius! then Love has pow'r I see.
Ha! my Pris'ner by that treacherous Slave set free!
Why do you stare?—
We trifle Time.
— Corbulo, that charge is thine.
Kind Fate provides another Sword for mine.
Now, Sulpitius, to whom's Hersilia due?
What's this!
By whom fell Mutius?
My Debts, Sir, and Hersilia's are the same.
Did you not say you wou'd forsake me now?
My Father!
EPILOGUE
THE Great Favourite, OR, THE DUKE OF LERMA. A TRAGEDY. As it was Acted at the THEATRE-ROYAL, By His MAJESTY's Servants. Written by the Honourable Sir ROBERT HOWARD.
LONDON, Printed for Henry Herringman, and are to be Sold by R. Bentley, J. Tonson, F. Saunders, and T. Bennet. M DC XCII.
TO THE READER.
I Cannot plead the usual Excuse for Publishing this Trisle, which is commonly the Subject of most Prefaces, by charging it upon the Importunity of Friends; for, I confess, I was my self willing, at the first Desire of Mr. Herringman, to Print it: not for any great Opinion that I had entertain'd, but for the Opinion that others were pleas'd to express; which being told me by some Friends, I was concern'd to let the World judge what subject matter of Offence was contain'd in it: Some were pleas'd to believe, little of it mine: but they are both obliging to me, though perhaps not intentionally; the last, by thinking there was any thing in it that was worth so ill design'd an Envy, as to place it to another Author: The others (perhaps, the best bred Informers) by continuing their Displeasures towards me, since I most gratefully acknowledge to have received some Advantage in the Opinion of the sober part of the World, by the loss of theirs.
For the Subject, I came accidentally to write upon it; for a Gentleman brought a Play to the King's Company, call'd, The Duke of LERMA; and by them I was desired to peruse it, and return my Opinion, whether I thought it fit for the Stage: After I had read it, I acquainted them, that in my Judgment it would not be of much Use for such a Design, since the Contrivance scarce would merit the Name of a Plot; and some of that, assisted by a Disguise; and it ended abruptly: and on the Person of Philip the III d there was fix'd such a mean Character, and on the Daughter of the Duke of Lerma, such a vitious one, that I cou'd not but judge it unfit to be presented by any that had a Respect, not only to Princes, but indeed to either Man or Woman; and about that time, being to go into the Country, I was perswaded by Mr. Hart to make it my Diversion there, that so great a Hint might not be lost, as the Duke of Lerma saving himself in his last Extremity, by his unexpected Disguise, which is as well in the true Story as the old Play; and besides that and the Names, my altering the most part of the Characters, and the whole Design, made me uncapable to use much more; though perhaps written with higher Stile and Thoughts, than I cou'd attain to.
I intend not to trouble my self nor the World any more in such Subjects, but take my leave of these my too long Acquaintances; since that little Fancy and Liberty I once enjoy'd, is now fetter'd in Business of more unpleasant Natures; yet were I free to apply my Thoughts as my [Page] own Choice directed them; I should hardly again venture into the Civil Wars of Censures.
In the next place, I must ingenuously confess, that the manner of Plays, which now are in most esteem, is beyond my power to perform; nor do I condemn in the least any thing of what Nature soever that pleases; since nothing cou'd appear to me a ruder Folly, than to censure the Satisfaction of others: I rather blame the unnecessary Understanding of some that have labour'd to give strict Rules to Things that are not Mathematical, and with such eagerness, pursuing their own seeming Reasons, that at last we are to apprehend such Argumentative Poets will grow as strict as Sancho Panco's Doctor was to our very Appetites; for in the difference of Tragedy and Comedy, and of Farce it self, there can be no determination but by the Taste; nor in the manner of their Composure; and who ever wou'd endeavour to like or dislike by the Rules of others, he will be as unsuccessful, as if he should try to be perswaded into a power of believing; not what he must, but what others direct him to believe.
But I confess, 'tis not necessary for Poets to study strict Reason, since they are so us'd to a greater Latitude than is allow'd by that severe Inquisition; that they must infringe their own Jurisdiction, to profess themselves oblig'd to argue well: I will not therefore pretend to say, why I writ this Play; some Scenes in blank Verse, others in Rhime, since I have no better a Reason to give than Chance, which waited upon my present Fancy; and I expect no better a Reason from any ingenious person, than his Fancy for which he best relishes.
I cannot therefore but beg leave of the Reader, to take a little notice of the great pains the Author of an Essay of Dramatick Poeste has taken, to prove Rhime as natural in a serious Play, and more effectual than blank Verse: Thus he states the Question, but pursues that which he calls Natural in a wrong Application; for 'tis not the Question, whether Rhime or not Rhime, be best, or most Natural for a grave and serious Subject; but what is nearest the nature of that which it presents. Now after all the Endeavours of that ingenious Person, a Play will still be supposed to be a Composition of several Persons speaking ex tempore; and 'tis as certain, that good Verses are the hardest things that can be imagin'd to be so spoken; so that if any will be pleas'd to impose the Rule of measuring things to be the best, by being nearest Nature; it is granted by consequence, that which is most remote from the thing supposed, must needs be most improper; and therefore I may justly say, that both I and the Question were equally mistaken; for I do own, I had rather read good Verses, than either blank Verse or Prose, and therefore the Author did himself injury, if he like Verse so well in Plays, to lay down Rules to raise Arguments, only unanswerable against himself.
[Page]But the same Author being fill'd with the Precedents of the Ancients writing their Plays in Verse, commends the thing, and assures us that our Language is Noble, Full, and Significant; charging all Defects upon the ill placing of Words, and proves it by quoting Seneca, loftily expressing such an ordinary thing, as, Shutting a Door.
I suppose he was himself highly affected with the sound of these Words, but to have compleated his Dictates together with his Arguments, he should have oblig'd us, by Charming our Ears with such an Art of placing Words as in an English Verse to express so loftily the Shutting of a Door, that we might have been as much affected with the sound of his Words. This, instead of being an Argument upon the Question rightly stated, is an Attempt, to prove that nothing may seem something, by the help of a Verse, which I easily grant to be the Ill fortune of it; and therefore the Question being so much mistaken, I wonder to see that Author trouble himself twice about it, with such an absolute Triumph declared by his own Imagination. But I have heard that a Gentleman in Parliament, going to speak twice, and being interrupted by another Member, as against the Orders of the House, he was excused by a Third, assuring the House he had not yet spoken to the Question.
But if we examine the general Rules laid down for Plays by strict Reason, we shall find the Errours equally gross; for the great foundation that is laid to build upon is nothing, as it is generally stated; which will appear upon the examination of the particulars.
First, We are told the Plot should not be so ridiculously contriv'd, as to croud two several Countries into one Stage; secondly, to cramp the Accidents of many years or days into the representation of two hours and a half: And lastly, a Conclusion drawn, that the only remaining dispute is concerning time, whether it should be contain'd in twelve, or four and twenty hours, and the place to be limited to the spot of ground, either in Town or City, where the Play is suppos'd to begin; And this is call'd nearest to Nature: For that is concluded most natural, which is most probable, and nearest to that which it presents.
I am so well pleas'd with any ingenious offers, as all these are, that I should not examine this strictly, did not the confidence of others force me to it; there being not any thing more unreasonable to my Judgment, than the attempt to infringe the Liberty of Opinion by Rules so little demostrative.
To shew therefore upon what ill grounds they dictate Laws for Dramatick Poesie, I shall endeavour to make it evident, that there's no such thing as what they all pretend; for, if strictly and duly weigh'd, 'tis as impossible for one Stage to present two Houses, or two Rooms truly, as two Countreys or Kingdoms; and as impossible that five hours, or four and twenty hours should be two hours and a half, as that a thousand hours or years should be less than what they are; or the greatest part of time to be comprehended in the less; for all being impossible, they are none of them nearest the truth, or nature, of what [Page] they present, for Impossibilities are all equal, and admit no degrees: and then if all those Poets that have so [...]ervently labour'd to give Rules as Maximes, would but be pleased to abbreviate, or endure to hear their Reasons reduc'd into one strict definition, it must be, that there are degrees in impossibilities, and that many things which are not possible, may yet be more or less impossible; and from this proceed to give Rules to observe the least absurdity in things which are not at all.
I suppose I need not trouble the Reader with so impertinent a delay to attempt a farther Confutation of such ill-grounded Reasons, than thus by opening the true state of the Case, nor do I design to make any farther use of it, than from hence to draw this modest Conclusion, That I would have all attempts of this nature be submitted to the fancy of others, and bear the name of Propositions, not of Confident Laws, or Rules made by Demonstration; and then I shall not discommend any Poet that dresses his Play in such a fashion as his fancy best approves; and fairly leave it for others to follow, if it appears to them most convenient, and fullest of Ornament.
But writing this Epistle in so much haste, I had almost forgot one Argument, or Observation, which that Author has most good fortune in; It is in his Epistle Dedicatory, before his Essay of Dramatick Poesie; where, speaking of Rhyme in Plays, he desires it may be observ'd, That none are violent against it, but such as have not attempted it, or who have succeeded ill in the attempt; which as to my self and him I easily acknowledge; for I confess none has written in that way better than himself, nor few worse than I: Yet, I hope, he is so ingenuous, that he would not wish this Argument should extend further than to him and Me; for if it should be received as a good one, all Divines and Philosophers would find a readier way of Confutation than they yet have done, of any that should oppose the least Thesis or Definition, by saying, they were denied by none but such as never attempted to write, or succeeded ill in the attempt.
Thus as I am one that am extreamly well pleas'd with most of the Propositions, which are ingeniously laid down in that Essay, for regulating the Stage; so I am also always concern'd for the true honour of Reason, and would have no spurious Issue Father'd upon her. Fancy may be allow'd her wantonness; but Reason is always pure and chast: and as it resembles the Sun, in making all things clear, it also resembles it in its several Positions, when it shines in full height, and directly ascendant over any Subject, it leaves but little shadow; But when descended and grown low, its oblique shining renders the shadow larger than the substance, and gives the deceiv'd person a wrong measure of his own proportion.
Thus begging the Reader's Excuse for this seeming Impertinency, I submit what I have written to the liberty of his unconfin'd Opinion, which is all the favour I ask of others to afford to me.
PROLOGUE To the Duke of Lerma,
Not so near ready to begin as you think for.
Why? What's the matter?
The Poet and the Company are wrangling within.
About what?
A Prologue.
Why, Is't an ill one?
What do they mean to do?
And what says the wilful Rhi [...]er?
—No, no, let us Scold.
- PHilip, the young King of Spain.
- The Duke of Medina, Uncle to Donna Maria.
- The Duke of Lerma; Father to Donna Maria.
- The Duke d' Alva.
- The Marquis of Alcara.
- Count Bruchero.
- The King's Confessor made Archbishop of Toledo.
- Caldroon, Lerma's chief Servant and Creature.
- Angelo, Servant to Lerma.
- Francisco and Don Juan, two Courtiers.
- Antonio.
- Three Lords.
- Three Courtiers.
- Three Suiters.
- Fryars.
- Officers and Attendants.
- Four Blackamores.
- Six Pages.
- The Queen Mother.
- Donna Maria, Daughter to Lerma.
- Catalina, a Maid of Honour to the Queen.
- Izabella, a Lady, Kinswoman to Medina.
- Attendants of Court-Ladies.
THE Great Favourite: OR, THE DUKE of LERMA.
ACT 1.
SCENE 1.
What means this Salutation?
I understand it not.
Seven years, my Lord.
We do beseech your Lordship.
We wish no other choice, but as we are.
I, my good Lord.
Roderigo del Caldroon, and the Marquiss of Lerma.
Heaven Crown you with success.
In spight of Injury, and Fate, my Lord.
Good day, Francisco, how fares the King?
Made they a question then of his Recovery?
No, For they said it was impossible.
The weather alters.
Of what nature may his Disease be?
Revenge my Quarrel, little Mighty People.
I will not fail: Farewel.
This strange confusion tells the news of death.
My heart is wing'd, and soars I know not whither.
Call the Florentine Doctor.
H'as watcht three nights, and is stoln hence to rest.
Where's that Florentine, and the Confessor?
Not in the Court.
Now it heightens.
Heard you not that, my Lord?
The King is dead.
Thanks be to Heaven.
He dy'd in extream torment.
Good news, my Lord.
Oh Admirable! but see, here's more.
I shall not fail.
Is the King dead?
Too sure.
Command me, I am all yours, my Lord.
SCENE II.
Madam, the Marquess of Lerma is yet in Court.
He is a danger always where he is.
'Tis an undoubted tru [...] you to go.
I must first speak with [...]essor.
Let him attend you to [...].
That Confessor's [...].
Wou'd he were shaken off.
SCENE III.
By whom?
The Multitude.
She is my Daughter.
I understand y [...]
ACT II.
SCENE I.
IS this Divinity? Defend me, Heaven!
Sweet Lady, hear me.
Pray, Madam, be not so loud, you may be heard.
Is this my Recompence?
These are large thoughts—but the Queen.—
Forget her, she is in her wayne.
Ha! there is no safety while she is alive.
What means my honour'd Father?
This is strange, to me, Sir.
Ha! Have you not wrought her?
Heaven defend my Father.
I hope there is no danger near you?
Oh Heavens! What do you mean?
Good Sir, let me go.
You must not.
Mark that, Maria.
What Lady's that?—
Now, my prophetick Soul!
But she is Lerma's Daughter, Sir.
Speak.
Sir, Do you remember?
You pour Mercies on me.
What change is this?
You have it, Sir.
I will no more punish her modesty.
Sir, Will you forget?
No more.
Are there Divinities below?
Heaven will defend you, Sir.
What should I do?
What d'ye talk of, Sir?
Of Death.
Of whose?
Of those that have the power of mine.
Not of the King's, Sir?
Direct me, Heaven!
Come, Are you resolv'd?
I am, Sir.
To what?
Obedience, Sir.
No.
How didst thou hear it then?
The quick-ey'd Rascals spy'd it.
Who?
Good, Excellent.
Good, very good.
Well, my Lord is now a little busie.
We ever pray'd for your Grace.
SCENE II.
My Lords, I wou'd be private.
I have not yet desir'd 'em to be gone.
Have you the power, Sir, to force 'em:
Oh, Mighty Sir—
Ha!
Death; she will spoil me yet.
Wou'd Heaven wou'd grant her Prayers!
It is your power that makes me any thing.
I wou'd preserve you, Sir, to be my King.
Enthrone me in your heart, and make me so.
A Throne of passion, for a King's too low.
Their joys are sure, but ours are shook with care.
'Tis yours, that may encrease his power and name;
And shou'd his Glories, Sir, spring from my shame?
Suppose your Father does my joys design.
Ha!
Oh, my Uncle!
I was afraid, Sir, that you were not well.
Not well?—wou'd you be a Physician?
The Nation!
What do you mean?
If you despise our Mercy.
How now, my Lords, do you seek any thing?
The King, my Lord.
He's lost.
Does not your Lordship know which way he went?
Wou'd you find the King?
Yes.
We are miserable.
We have new Titles.
Madam.
Royal Lady.
Is your Majesty not well?
Ha! I was thinking of the King.
What of him, Madam?
He has ill Council, Madam.
From Lerma too.
I thought e'er now, he had been banish'd.
Shall he be sent for?
I cannot tell, I am suspicious of all Accidents.
With Death I fear.
How now, how does the Queen?
This is sudden.
What became of the Fryar?
'Twas poyson on my life.
Here's a strange Relation:
See the new Indian Stars.
Silence, he gapes; a Proclamation sure.
Here's a Volley of Titles.
The Confessor should have told us that.
The Archbishop, you forget your self:
Markt ye that, my Lord?
No nor the sadness: we shall attend the Constable.
I do not like that word of Alcara.
Wou'd 'twere undone.
The disguiz'd Fryer.
He was ignorant of what he carry'd.
ACT III.
SCENE I.
For whom?
You shall be answer'd.
You are very bold.
Hold, this place is not for Quarrels.
Nor for Wrongs.
How was't?
Let met speak, that dare tell truth.
What Hurry's here?
I'll blow him and his Storms quickly away.
I have Employment for you.
Pray peace, my Lord
What is't?
Fye, fye, consider who they are.
What's this?
The King.
I will speak.
Take heed, good my Lord.
Which way went Lerma?
What's this?
What Enemy is this?
Excellent! 'tis nobly honest.
SCENE II.
But if▪
Have you done it, Sir?
You see I have.
A little.
Ha!
Whither must all this tend?
Excellent Woman!
Do's cruelty, a sign of kindness, prove?
It is the greatest to deny the Love.
Both cannot suffer in one cruelty.
I sho'd confess too much, shou'd I deny.
Wou'd you more cruel than you are appear?
Pray, Sir, be gone, I've said too much I fear.
Maria—
Have you prevail'd?
Yes, Sir—but—
See the full sail of Spain.
Strike, and pass by.
The King by me salutes you.
Mine, of Navarre—
He has some other meaning in't.
See, these are of his Council.
And now come sweating with their fond complements.
We have the Bonds about us.
'Tis believ'd.
Not I, I vow to you.
I hope, my Lord, it shall not be forgotten:
That were too foul Ingratitude.
Oh, never, my Lord; and to assure the Duke—
'Tis well, so may you prosper.
What think you now?
I will not fail on my part.
You have got a fair Charge, my Lord.
When you know all, you'll say so.
We two, my Lord, are banish'd.
Banish'd?
But to honourable Employments.
See here the Sentence of our Banishments.
What's this that vanish'd?
Some secret Invitation.
Yes, read.
To the Marquiss of Alcara.
YOU and your Friend Count Bruchero, will receive two Patents for your honourable Banishment, 'twill not be unpleasant to the King, if you pretend Sickness or Business to defer going to your Employments: This Advice admire not at, but follow.
This is strange.
'Tis true, and we must put it off.
And yet it may prove dangerous.
Good; but what success attends on this?
SCENE III.
Said he, he would not go?
Till his Accounts were level'd.
And Alcara is sick?
'Tis so given out.
The peoples cries grow loud.
The King hears nothing of all this.
'Tis dangerous.
What's to be done?
I'm ready for the Journey.
But now dispatcht.
But now?—Humh!
Nothing, my Lord.
Thou lyest.
My Lord.
My Lord, you do amaze me.
I love your Peace so well, I dare not utter it▪
Alas, my Lord.
So.
His colour changes.
Keep in, false Fear, he must not see thee:
His blood flies up and down, the storm has tost it.
Much, my Lord—for—
I'll attend your Grace—
ACT IV.
SCENE I.
I never shall deceive you, Madam.
What's this?
Sure she is Injur'd.
I must believe her.—
Hark, What's that?
Nothing, Madam, 'tis but your fancy.
You must.
Truth.
These shapes spoke falshood.
The greatest wonder is behind.
What's that?
My Lord, for pitties sake.
Do but hear me, Sir.
My Lord.
Will you not hear me then, my Lord?
What's this?
The King has as much Vertue as I wish him.
Stay, stay, you must not go.
Must not?
What do you mean?
Will you murder me?
I had rather be judg'd there than here.
Dare you endure to dye?
Were't not a sin, perhaps I durst do more.
What more?
I will.
I do: Did you write it?
No more Questions now.
'Tis the King; I trust you now, Maria.
Do so always then.
Maria—How now, What's this?
This is an odd Excuse.
All safe; I must hast after them.
By Heaven I do.
By Heaven I have a mind to do so too.
One of Lerma's Angels.
Lerma's Devils.
See, my Lord, I meant his evil Angel.
SCENE II.
My Lord.
Your Daughter, Sir.—
You cannot hear it.
Not if you do not tell it.
'Twill crush you.
My Lord, I told you what 'twou'd come to.
As they say, asleep.
He will be troubled sure.
It cannot be imagin'd that they dare
I cannot guess, my Lord.
What is't, my Lord?
'Tis excellent.
He must not know she's lost.
Not for the World.
He comes.
But with a Guard, I like not.
We are undone.
All's out, I fear.
Think of your self, my Lord.
Cou'd we but find her.
Here's more Company.
The worst is come already, and the rest look'd for.
I obey it, we are o'er-taken.
Medina, I will answer the Arrest.
ACT V.
SCENE I.
THis Coffer holds your wishes, and the full salutes from Rome; your Money is return'd as promised: I have at Naples here, met news so fearful, has alter'd all my purposes: I have serv'd you faithfully, pay it to my memory; you are secure, and I preserv'd from shame, by a death of my own chusing, Poyson. So farewel, no more yours, nor any more
Oh, are you come? what Tempest now?
How do you like the sight you saw?
What the Pageant? I did not like it.
I thought so.
This heavy Spectacle was meant—
To frighten me?
Philip, Duke of Medina, [...] dare come.
Your impudence was never question'd.
What's this? the Guard there, hoa?
What, betray'd?
My Lord, you are mistaken.
My Lord, I'll follow you.
I must not leave him Arm'd.
The Guard, my Lord, must wait in sight.
Away.
I'll hear no more.
SCENE II.
I hope, my Lords, I have deserv'd your thanks.
And all the Nations.
No news, my Lord, yet of your Niece?
Not any.
Sir—
What fact, Sir?
We do beseech your Majesty—
Does your Majesty believe?—
This is unhappy.
I wou'd speak with the King.
From whom?
Maria.
What's your business?
'Tis only for his Ears.
How, Izabella, are you grown her Servant?
I am a Servant to her Vertues.
And so brought a vertuous Message?
My Lord, you may say what you please.
I must tell neither.
Ha, Did not I intrust you?
But not what I ought to be.
Then I must speak.
This is Cruelty, not Justice.
Stop her mouth; out with her.
What's the matter, my Lord?
I have seen her sure.
My Lords, I am.
That private way is not for Traytors.
A Mask, I think, not an Arraignment.
He has o'er-reach'd us all.
D'ye come hear to rail?
The Devil helps thee to 'em.
Still so uncharitable?
Dost thou name any thing that's good?
Ha, ha, ha!
Are you so merry too?
Impudence, stand off. Let us consult.
You know 'tis in our power to Confine you.
Subtle Devil.
Here's a strange change: thanks to his Holiness.
We may blush to be thus cozen'd.
Her sorrow moves.
Her Vertue more; rise, fair Maria.
Fair vertuous Maid, your Father lives.
Ha! the King.
But I must now leave Heaven, Sir, or you.
The choice were easie, were the question true.
Is not Heaven then the best felicity?
But you as well may go to Heaven with me.
You sav'd us all, preserve your Nation now.
That Vertue still may flow from you, their Spring.
And make a Nation happy with their King.
What shou'd I do?