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H. Cruickshank</p></div><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><p class="tei tei-p" style="margin-bottom: 1.00em">This eBook is for the use of anyone anywhere at no cost + and with almost no restrictions whatsoever. You may copy it, + give it away or re-use it under the terms of the Project + Gutenberg License <a href="#pglicense" class="tei tei-ref">included with this + eBook</a> or online at <a href="http://www.gutenberg.org/license" class="tei tei-xref">http://www.gutenberg.org/license</a></p></div><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">Title: Philip Massinger + +Author: A. H. Cruickshank + +Release Date: February 23, 2011 [Ebook #35365] + +Language: English + +Character set encoding: UTF-8 + + +***START OF THE PROJECT GUTENBERG EBOOK PHILIP MASSINGER*** +</pre></div> + </div> + <div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + + </div> + + <hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.73em"><span style="font-size: 173%">Philip Massinger</span></p> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em">By</p> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.44em"><span style="font-size: 144%">A. H. Cruickshank</span></p> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em">Sometime Scholar and Fellow of New College, Oxford</p> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em">Canon of Durham, and Professor of Greek and Classical Literature, in the University of Durham</p> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em">Oxford</p> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em">Basil Blackwell, Broad Street</p> + <p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em">1920</p> + </div> + <hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Contents</span></h1> + <ul class="tei tei-index tei-index-toc"><li><a href="#toc1">Dedication</a></li><li><a href="#toc3">Preface</a></li><li><a href="#toc5">Philip Massinger</a></li><li><a href="#toc7">Appendix I. The Small Actor In Massinger's Plays</a></li><li><a href="#toc9">Appendix II</a></li><li><a href="#toc11">Appendix III. The Collaborated Plays</a></li><li><a href="#toc13">Appendix IV. On The Influence Of Shakspere</a></li><li><a href="#toc15">Appendix V. Warburton's List</a></li><li><a href="#toc17">Appendix VI. A Metrical Peculiarity In Massinger</a></li><li><a href="#toc19">Appendix VII. “Believe As You List”</a></li><li><a href="#toc21">Appendix VIII. Collation Of Ms. Of “Believe As You List”</a></li><li><a href="#toc23">Appendix IX. “The Parliament Of Love”</a></li><li><a href="#toc25">Appendix X. The Authorship Of “The Virgin Martyr”</a></li><li><a href="#toc27">Appendix XI. The Authorship Of “The Fatal Dowry”</a></li><li><a href="#toc29">Appendix XII. The Tragedy Of “Sir John Van Olden +Barnavelt”</a></li><li><a href="#toc31">Appendix XIII. “The Second Maiden's Tragedy”</a></li><li><a href="#toc33">Appendix XIV. “The Powerful Favorite”</a></li><li><a href="#toc35">Appendix XV. “Double Falsehood”</a></li><li><a href="#toc37">Appendix XVI. Middleton's “A Trick To Catch The Old One”</a></li><li><a href="#toc39">Appendix XVII</a></li><li><a href="#toc41">Appendix XVIII. Alliteration In Massinger</a></li><li><a href="#toc43">Appendix XIX</a></li><li><a href="#toc45">Appendix XX. Bibliography</a></li><li><a href="#toc47">Index</a></li><li><a href="#toc49">Footnotes</a></li></ul> + </div> + + </div> +<div class="tei tei-body" style="margin-bottom: 6.00em; margin-top: 6.00em"> + +<span class="tei tei-pb" id="pagei">[pg i]</span><a name="Pgi" id="Pgi" class="tei tei-anchor"></a> + +<hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc1" id="toc1"></a> +<a name="pdf2" id="pdf2"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Dedication</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Inscribed To<br /> +Frederic G. Kenyon<br /> +In Memory Of A Friendship<br /> +Of Forty-Four Years +</p> + +</div> + +<span class="tei tei-pb" id="pageii">[pg ii]</span><a name="Pgii" id="Pgii" class="tei tei-anchor"></a> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + +<p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em"> + </p><div class="tei tei-figure" style="width: 70%; text-align: center"><img src="images/frontispiece.png" alt="Frontispiece: Philip Massinger" /></div> + +</div> + +<span class="tei tei-pb" id="pagev">[pg v]</span><a name="Pgv" id="Pgv" class="tei tei-anchor"></a> + +<hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc3" id="toc3"></a> +<a name="pdf4" id="pdf4"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Preface</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In confessing that the war made me write a book I do +not stand alone. Sensible as I am of its defects, I trust +it will help to spread the knowledge of Massinger's works, +and will invite others to deal on similar lines with the +other dramatists of the great age. The design widened +as it went on, and was then contracted. In the end I +thought it wiser to confine myself to digesting the knowledge +which I had of Massinger's text. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The Clarendon Press undertook to publish this book, +but as, owing to war-work, they could fix no date, I +asked them to release me. There would be no occasion +to mention this fact were it not that it was owing to the +original arrangement that I received much valuable help +and advice from Mr. Percy Simpson. Many other +scholars and friends have kindly aided me in various +matters, among whom I should like to mention: Mr. J. C. +Bailey, Mr. P. James Bayfield (photographer to Dulwich +College), Dr. A. C. Bradley, Mr. Robert Bridges, Mr. A. H. +Bullen, Mr. A. K. Cook, Professor W. Macneile Dixon, +Mr. H. H. E. Gaster, the Dean of Gloucester, Mr. E. Gosse, +Sir W. H. Hadow, Archdeacon Hobhouse, Sir Sidney Lee, +Mr. C. Leudesdorf, Dr. Falconer Madan, Mr. A. W. Pollard, +Dr. P. G. Smyly, the Master of University College, Durham, +Sir A. Ward, and Sir George F. Warner. Last, but not +least, I thank my wife for her skilful and ready help with +the proofs. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. Cruickshank. +</p> + +</div> + +<span class="tei tei-pb" id="page001">[pg 001]</span><a name="Pg001" id="Pg001" class="tei tei-anchor"></a> + +<hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc5" id="toc5"></a> +<a name="pdf6" id="pdf6"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Philip Massinger</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is interesting to revise the literary judgments of youth; +it is pleasant to find them confirmed by a more mature +judgment. This train of thought has led me to read +Massinger once more; and as I read, the desire arose to +treat his works, to the best of my ability, with the attention +to detail which modern scholarship requires. A great +amount of valuable work has been done in the last fifty +years on the writers of the Elizabethan and Jacobean +ages; but no one, perhaps with the exception of Boyle, +has applied to Massinger the care which Shakspere, +Marlowe, and Ben Jonson, to name no others, have +secured. There is no reason why any of our great +dramatists should be treated with less respect than those +of Greece and Rome, of France and Germany. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The first thing to be done was to facilitate references +by numbering the lines of Massinger's plays;<a id="noteref_1" name="noteref_1" href="#note_1"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">1</span></span></a> the next +was to investigate once more the facts of his life, and to +correlate them with the period in which he lived; the +third was to read typical plays of the period, so as to +arrive at a just estimate of our author. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +His life will not detain us long. We know far less of +him than we do of Shakspere. None of his sayings have +been preserved to us; hardly any incidents of his career. +His father was house-steward to two of the Earls of +<span class="tei tei-pb" id="page002">[pg 002]</span><a name="Pg002" id="Pg002" class="tei tei-anchor"></a> +Pembroke, first to Henry Herbert, then to William Herbert,<a id="noteref_2" name="noteref_2" href="#note_2"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">2</span></span></a> +Shakspere's friend. The elder Massinger was a Fellow +of Merton College, Oxford, and for several years a Member +of Parliament. Philip Massinger, the dramatist, was born +at Salisbury in 1584. In 1602 he went up to St. Alban's +Hall, Oxford, where his father had been an undergraduate. +We are told by A. à Wood that he went at Lord Pembroke's +expense, but that he did not work hard at the +University, and took no degree.<a id="noteref_3" name="noteref_3" href="#note_3"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">3</span></span></a> In or after the year 1606 +he seems to have gone to London, and to have speedily +engaged in the work of writing plays.<a id="noteref_4" name="noteref_4" href="#note_4"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">4</span></span></a> The wide reading +which his plays presuppose probably began at Oxford. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It was the custom in those days, as in the time of +Plautus at Rome,<a id="noteref_5" name="noteref_5" href="#note_5"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">5</span></span></a> for playwrights to revise old plays; +and still more was it usual for them to collaborate.<a id="noteref_6" name="noteref_6" href="#note_6"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">6</span></span></a> We +find Massinger at work in this way with Field,<a id="noteref_7" name="noteref_7" href="#note_7"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">7</span></span></a> Daborne,<a id="noteref_8" name="noteref_8" href="#note_8"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">8</span></span></a> +<span class="tei tei-pb" id="page003">[pg 003]</span><a name="Pg003" id="Pg003" class="tei tei-anchor"></a> +Dekker, Tourneur, and above all, with Fletcher. With +the latter he worked from 1613 to 1623. In that year, +for some unknown reason, he seceded from the service +of the leading company of actors of the day, who went +by the name of the King's men, and wrote unaided three +plays for the Queen's men, <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The +Bondman</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>. After Fletcher's death, +in 1625, Massinger rejoined the King's men, and wrote +for them until his death in 1640. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It has been surmised from the vivid colouring of <span class="tei tei-hi"><span style="font-style: italic">The +Virgin Martyr</span></span><a id="noteref_9" name="noteref_9" href="#note_9"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">9</span></span></a> and the plot of <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>,<a id="noteref_10" name="noteref_10" href="#note_10"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">10</span></span></a> where a +Jesuit plays a leading part and is portrayed in a pleasing +light, that Massinger turned Roman Catholic. The evidence +for this theory is quite inadequate. Indeed, we +might as well argue from Gazet's language that the +author followed the Anglican <span class="tei tei-foreign"><span style="font-style: italic">via media</span></span>.<a id="noteref_11" name="noteref_11" href="#note_11"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">11</span></span></a> Plots derived +from French, Spanish, and Italian sources would naturally +contain Roman Catholic machinery. We might as well +infer that Shakspere was a Roman Catholic because +Silvia goes to Friar Patrick's cell,<a id="noteref_12" name="noteref_12" href="#note_12"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">12</span></span></a> or because Friar +Laurence is prominent in <span class="tei tei-hi"><span style="font-style: italic">Romeo and Juliet</span></span>.<a id="noteref_13" name="noteref_13" href="#note_13"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">13</span></span></a> +</p> + +<span class="tei tei-pb" id="page004">[pg 004]</span><a name="Pg004" id="Pg004" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We know that Massinger lived a life of comparative +poverty; on one occasion we find him, with two other +dramatic authors, asking for a loan of £5.<a id="noteref_14" name="noteref_14" href="#note_14"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">14</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The person who thus obliged the three writers was +Philip Henslowe, a dyer, theatrical lessee, and speculator, +who acted as a kind of broker between actors and authors, +buying from the one and selling to the other; we still +possess his diary, containing information as to the prices +which he gave for plays.<a id="noteref_15" name="noteref_15" href="#note_15"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">15</span></span></a> The prologue of <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span> +shows us that for two years before 1633 Massinger had +been under a cloud, and had abstained from writing. +Two of his plays had failed in 1631—<span class="tei tei-hi"><span style="font-style: italic">The Emperor of the +East</span></span><a id="noteref_16" name="noteref_16" href="#note_16"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">16</span></span></a> and <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span><a id="noteref_17" name="noteref_17" href="#note_17"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">17</span></span></a>—so he appears to have +put forth his full strength in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>. +</p> + +<p class="tei tei-p" style="text-align: center; margin-bottom: 1.00em"> + </p><div class="tei tei-figure" style="width: 70%; text-align: center"><img src="images/sample.png" alt="Henslow document at Dulwich." /></div> + +<span class="tei tei-pb" id="page005">[pg 005]</span><a name="Pg005" id="Pg005" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The dedications of Massinger's plays which have been +preserved show that he was often dependent for support +on the leaders of what he once or twice calls <span class="tei tei-q">“the +nobility.”</span><a id="noteref_18" name="noteref_18" href="#note_18"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">18</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The connexion of the poet with the family of which his +father was the loyal and trusted servant has been exaggerated +by some;<a id="noteref_19" name="noteref_19" href="#note_19"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">19</span></span></a> in the dedication of <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, +written in 1623, to Philip, Earl of Montgomery,<a id="noteref_20" name="noteref_20" href="#note_20"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">20</span></span></a> the poet +distinctly states that though the Earl had helped the +play at its first performance by his <span class="tei tei-q">“liberal suffrages”</span> +yet he was personally unknown to him.<a id="noteref_21" name="noteref_21" href="#note_21"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">21</span></span></a> Amongst others +to whom we find dedications is George Harding, Baron +Berkeley, to whom Webster inscribed <span class="tei tei-hi"><span style="font-style: italic">The Duchess of +Malfi</span></span>. It is pleasant to read in the dedication of <span class="tei tei-hi"><span style="font-style: italic">The +Picture</span></span> <span class="tei tei-q">“to my honoured and selected friends of the +Noble Society of the Inner Temple”</span> that Massinger +received <span class="tei tei-q">“frequent bounties”</span> from them. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The plays give us no clear evidence that Massinger ever +travelled abroad,<a id="noteref_22" name="noteref_22" href="#note_22"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">22</span></span></a> though such a passage as <span class="tei tei-hi"><span style="font-style: italic">The Great +</span><span class="tei tei-pb" id="page006">[pg 006]</span><a name="Pg006" id="Pg006" class="tei tei-anchor"></a><span style="font-style: italic"> +Duke of Florence</span></span>, II., 2, 5-21, rather suggests a visit to +Italy. Nor have we any ground for supposing that he +was, like Shakspere, an actor, unless indeed an obscure +reference in the Dublin poem to the Earl of Pembroke be +so interpreted.<a id="noteref_23" name="noteref_23" href="#note_23"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">23</span></span></a> In London he lived on the Bankside, +Southwark. The story of his death is told us by our +gossiping old friend Anthony à Wood, in his <span class="tei tei-hi"><span style="font-style: italic">Athenae +Oxonienses</span></span>.<a id="noteref_24" name="noteref_24" href="#note_24"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">24</span></span></a> Massinger went to bed one night well, and +<span class="tei tei-pb" id="page007">[pg 007]</span><a name="Pg007" id="Pg007" class="tei tei-anchor"></a> +was found dead the next morning. He was buried at St. +Saviour's on March 18th, 1639/40.<a id="noteref_25" name="noteref_25" href="#note_25"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">25</span></span></a> The funeral was +<span class="tei tei-q">“accompanied by comedians,”</span> a phrase which seems to +show that his professional friends did him honour at the +last; he is described in the monthly accounts of St. +Saviour's as <span class="tei tei-q">“a stranger”</span>—that is to say, a non-parishioner. +His intimate friend Sir Aston Cokaine tells us +that he shared the grave of his friend John Fletcher;<a id="noteref_26" name="noteref_26" href="#note_26"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">26</span></span></a> +and in 1896 a window in the south aisle of the nave of +Southwark Cathedral was unveiled in his honour by Sir +Walter Besant.<a id="noteref_27" name="noteref_27" href="#note_27"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">27</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +What was the atmosphere in which Massinger lived? +The days of James I. and Charles I. were less heroic than +those of Elizabeth. In foreign politics England intervened +once or twice in an ineffective way, and a good +deal of sympathy was shown, much of it in a practical +fashion, for the cause of the Protestant King of Bohemia. +Gardiner<a id="noteref_28" name="noteref_28" href="#note_28"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">28</span></span></a> has pointed out that Charles I. gave permission +to the Marquis of Hamilton to carry over volunteers +in aid of Gustavus Adolphus just as James I. had allowed +<span class="tei tei-pb" id="page008">[pg 008]</span><a name="Pg008" id="Pg008" class="tei tei-anchor"></a> +Vere to carry over volunteers to the Palatinate. Hamilton +sailed in July, 1631, and <span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span> was +printed in 1632. The whole plot of this play recalls the +relations of England to the Protestant cause on the +Continent. Thus, William. Lord Craven, to whom Ford's +<span class="tei tei-hi"><span style="font-style: italic">Broken Heart</span></span> is dedicated, and who was knighted at the +age of seventeen, after his <span class="tei tei-q">“valiant adventures”</span> in the +Netherlands under Henry, Prince of Orange, went to the +assistance of Gustavus Adolphus in 1631, when only +twenty-two years old. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Wars in the Low Countries are vaguely referred to in +various passages, as, <span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>:<a id="noteref_29" name="noteref_29" href="#note_29"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">29</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Novall Jun.</span></span><span style="font-size: 90%"> Oh, fie upon him, how he wears his clothes!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As if he had come this Xmas. from S. Omer's</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To see his friends, and return'd after Twelfth-tide.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The date of the play is uncertain, but it must have been +written some considerable time before being printed in +1632.<a id="noteref_30" name="noteref_30" href="#note_30"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">30</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">The New Way to pay Old Debts</span></span> Lord Lovell <span class="tei tei-q">“has +purchas'd a fair name in the wars.”</span><a id="noteref_31" name="noteref_31" href="#note_31"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">31</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span>, we have the +familiar type of the brave soldier who is disregarded in +time of peace, and has come down to poverty and old +clothes. +</p> + +<span class="tei tei-pb" id="page009">[pg 009]</span><a name="Pg009" id="Pg009" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In the wider world of Europe the Turk and the Algerine +pirate are still grim realities enough to form an effective +scenic background.<a id="noteref_32" name="noteref_32" href="#note_32"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">32</span></span></a> Indeed, it was not so very long +since the Battle of Lepanto. We find constant references +to galley-slaves,<a id="noteref_33" name="noteref_33" href="#note_33"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">33</span></span></a> to the slave market,<a id="noteref_34" name="noteref_34" href="#note_34"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">34</span></span></a> and to +apostates to Islam.<a id="noteref_35" name="noteref_35" href="#note_35"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">35</span></span></a> In the opening scene of <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span> +the soldier husband parts from his wife on the frontier +of Bohemia <span class="tei tei-q">“not distant from the Turkish camp above +five leagues.”</span> One of the objections urged against the +new custom of fighting duels is that thereby lives are +lost which might have done service against the Turk.<a id="noteref_36" name="noteref_36" href="#note_36"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">36</span></span></a> +The age of chivalry has its faint reflection in schemes to +<span class="tei tei-q">“redeem Christian slaves chain'd in the Turkish servitude”</span> +by force of arms, and in the prowess of the Knights of +Malta.<a id="noteref_37" name="noteref_37" href="#note_37"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">37</span></span></a> The wealth and power of Turkey are taken for +<span class="tei tei-pb" id="page010">[pg 010]</span><a name="Pg010" id="Pg010" class="tei tei-anchor"></a> +granted. When Malefort senior vows vengeance on Montreville, +he cries out: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The Turkish Empire offer'd for his ransom</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Should not redeem his life.</span><a id="noteref_38" name="noteref_38" href="#note_38"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">38</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +At home we find the vices of a prolonged peace lending +opportunity for some easy satire. On the whole, we +may say that we do not learn very much about our +country from the poet which we could not find in the +other playwrights of the day. Let us rapidly put together +some of his references. There were two Englands +at this time, drifting inevitably apart, only to clash in +fratricidal war under Charles I. The drama was becoming +less and less national, more and more an affair of +aristocratic patronage. Massinger does not often refer +to the Puritans;<a id="noteref_39" name="noteref_39" href="#note_39"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">39</span></span></a> there is nothing so amusing in his plays +as the passage in Fletcher's <span class="tei tei-hi"><span style="font-style: italic">Fair Maid of the Inn</span></span>, where +the Pedant solicits the advice of Forobosco the quack +about <span class="tei tei-q">“erecting four new sects of religion at Amsterdam.”</span><a id="noteref_40" name="noteref_40" href="#note_40"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">40</span></span></a> +The fashionable love of astrology is satirized +in <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>. The England of Massinger's plays +is an England which loves expense,<a id="noteref_41" name="noteref_41" href="#note_41"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">41</span></span></a> amusements, Greek +<span class="tei tei-pb" id="page011">[pg 011]</span><a name="Pg011" id="Pg011" class="tei tei-anchor"></a> +wines,<a id="noteref_42" name="noteref_42" href="#note_42"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">42</span></span></a> masques,<a id="noteref_43" name="noteref_43" href="#note_43"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">43</span></span></a> new clothes,<a id="noteref_44" name="noteref_44" href="#note_44"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">44</span></span></a> and foreign fashions.<a id="noteref_45" name="noteref_45" href="#note_45"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">45</span></span></a> +London is a great port, with trade to the Indies and +aspirations after the <span class="tei tei-q">“North passage.”</span> The jealousy of +the City and the Court, the ostentations of the one and +the refinement of the other, point the moral of <span class="tei tei-hi"><span style="font-style: italic">The City +Madam</span></span>.<a id="noteref_46" name="noteref_46" href="#note_46"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">46</span></span></a> The high-spirited 'prentices of the City of +<span class="tei tei-pb" id="page012">[pg 012]</span><a name="Pg012" id="Pg012" class="tei tei-anchor"></a> +London take the law into their own hands in days when +there are no police,<a id="noteref_47" name="noteref_47" href="#note_47"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">47</span></span></a> and their vices are satirized after +the manner of Ben Jonson in the same play. Horse-play, +such as tossing in a blanket, is considered a great joke.<a id="noteref_48" name="noteref_48" href="#note_48"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">48</span></span></a> +The balladmonger so often referred to in Shakspere is +much in evidence,<a id="noteref_49" name="noteref_49" href="#note_49"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">49</span></span></a> though indeed it was an age in which +everyone wrote poetry.<a id="noteref_50" name="noteref_50" href="#note_50"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">50</span></span></a> In rural England we find the +possibility of an unscrupulous local tyrant, such as is +depicted to us in Massinger's masterpiece, Sir Giles +Overreach, aided by his jackal, Mr. Justice Greedy.<a id="noteref_51" name="noteref_51" href="#note_51"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">51</span></span></a> That +our poet had a keen eye for social evils, for the man who +sells food at famine prices, the encloser of commons, the +usurer, the worker of iron, the cheating tradesman, is +<span class="tei tei-pb" id="page013">[pg 013]</span><a name="Pg013" id="Pg013" class="tei tei-anchor"></a> +clear from a passage in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>.<a id="noteref_52" name="noteref_52" href="#note_52"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">52</span></span></a> The beautiful +description in the same play of the amusements of country +life, the hunting and the hawking, with which Durazzo +seeks to console his love-sick ward Caldoro,<a id="noteref_53" name="noteref_53" href="#note_53"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">53</span></span></a> probably +takes one back to Massinger's own boyhood in Wiltshire. +As we should expect, there is a good deal of riding in the +country scenes.<a id="noteref_54" name="noteref_54" href="#note_54"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">54</span></span></a> The characters of Sir John Frugal, the +successful merchant, and Mr. Plenty, the country gentleman,<a id="noteref_55" name="noteref_55" href="#note_55"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">55</span></span></a> +show us that the <span class="tei tei-q">“John Bull”</span> type of Englishman +existed in those days. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The temptation to give a back-hand blow to one's own +country in the course of a plot laid abroad is obvious and +irresistible; where Shakspere had set the example others +were sure to follow,<a id="noteref_56" name="noteref_56" href="#note_56"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">56</span></span></a> and Massinger does not spare the +female sex of England. To judge by the passage in <span class="tei tei-hi"><span style="font-style: italic">The +Renegado</span></span>,<a id="noteref_57" name="noteref_57" href="#note_57"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">57</span></span></a> the women of his day loved expense and +luxury, and were very independent in their attitude to +their husbands.<a id="noteref_58" name="noteref_58" href="#note_58"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">58</span></span></a> The humiliation of Lady Frugal and +her two daughters after their extravagant ambitions is +the point of <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>. The contrast between a +uxorious husband and an imperious wife is one of Massinger's +favourite effects.<a id="noteref_59" name="noteref_59" href="#note_59"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">59</span></span></a> Donusa's speech in her own +<span class="tei tei-pb" id="page014">[pg 014]</span><a name="Pg014" id="Pg014" class="tei tei-anchor"></a> +defence in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span> might have been written by a +suffragette of our own day.<a id="noteref_60" name="noteref_60" href="#note_60"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">60</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We do not get much direct evidence as to the characteristics +of the playwright's audiences; Dr. Bradley has +some good remarks on this subject.<a id="noteref_61" name="noteref_61" href="#note_61"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">61</span></span></a> <span class="tei tei-q">“Nor is it credible +that an appreciation of the best things was denied to +the mob, which doubtless loved what we should despise; +but appears also to have admired what we admire, and to +have tolerated more poetry than most of us can stomach;”</span> +<span class="tei tei-q">“the mass of the audience must have liked excitement, +the open exhibition of violent and bloody deeds, and the +intermixture of seriousness and mirth.”</span> Dr. Bradley +points out elsewhere<a id="noteref_62" name="noteref_62" href="#note_62"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">62</span></span></a> that the Elizabethan actor probably +spoke more rapidly than our modern actors. This would +make soliloquies less tedious. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +To turn to the politics of the age; the rift between the +dynasty and the nation grew wider as the century advanced. +Though Massinger died before the days of the +Long Parliament, we can imagine that he would have +been one of those who eventually fought under protest +for the King. We find evidence in his plays for supposing +that he belonged to the Conservative Opposition, like his +patron Philip, the fourth Earl of Pembroke and Montgomery. +<span class="tei tei-pb" id="page015">[pg 015]</span><a name="Pg015" id="Pg015" class="tei tei-anchor"></a> +He was a lover of liberty, and there are one or +two indications that his plays offended the strict ideas +of Charles I.'s censorship. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Sir Henry Herbert, the Master of the Revels, refused +on January 11th, 1630/31, to license one of his plays<a id="noteref_63" name="noteref_63" href="#note_63"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">63</span></span></a> +because <span class="tei tei-q">“it did contain dangerous matter, as the deposing +of Sebastian King of Portugal by Philip II., and there +being a peace sworn 'twixt the Kings of England and +Spain.”</span><a id="noteref_64" name="noteref_64" href="#note_64"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">64</span></span></a> The same worthy records that King Charles I. +himself read another of his plays,<a id="noteref_65" name="noteref_65" href="#note_65"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">65</span></span></a> while staying at Newmarket, +and wrote against one passage, <span class="tei tei-q">“This is too +insolent, and to be changed.”</span> The passage, which is put +into the mouth of a King of Spain, runs as follows: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Monies! we'll raise supplies what way we please</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And force you to subscribe to blanks, in which</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">We'll mulct you, as we think fit. The Caesars</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In Rome were wise, acknowledging no laws</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But what their swords did ratify; the wives</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And daughters of the senators bowing to</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their will as deities.</span><a id="noteref_66" name="noteref_66" href="#note_66"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">66</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +These lines clearly reflect on the autocratic methods +which prevailed in England from 1629 to 1640. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There is much in Timoleon's speeches in the senate<a id="noteref_67" name="noteref_67" href="#note_67"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">67</span></span></a> +which seems to contain covert references to the England +<span class="tei tei-pb" id="page016">[pg 016]</span><a name="Pg016" id="Pg016" class="tei tei-anchor"></a> +of the day, and notably in lines 203-213, where the unprepared +state of the army and navy is referred to. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It has been thought with much probability that the +Duke of Buckingham is satirized in the slight sketch of +Gisco in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>,<a id="noteref_68" name="noteref_68" href="#note_68"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">68</span></span></a> and in the more fully drawn +character of Fulgentio in <span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span>:<a id="noteref_69" name="noteref_69" href="#note_69"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">69</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Adorni.</span></span><span style="font-size: 90%"> Pray you, sir, what is he?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Astutio.</span></span><span style="font-size: 90%"> A gentleman, yet no lord. He hath some drops</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of the king's blood running in his reins, derived</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Some ten degrees off. His revenue lies</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In a narrow compass, the king's ear; and yields him</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Every hour a fruitful harvest. Men may talk</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of three crops in a year in the Fortunate Islands,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or profit made by wool; but, while there are suitors,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His sheepshearing, nay, shaving to the quick</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Is in every quarter of the moon, and constant.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In the time of trussing a point, he can undo</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or make a man; his play or recreation</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Is to raise this up, or pull down that, and though</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He never yet took orders, makes more bishops</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In Sicily than the Pope himself.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The grumbling of the professional soldier against the +royal favourite inspires a passage in <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>.<a id="noteref_70" name="noteref_70" href="#note_70"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">70</span></span></a> +A similar freedom of speech is found in <span class="tei tei-hi"><span style="font-style: italic">The Maid of +Honour</span></span>; for instance, in the following passages: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Gasparo.</span></span><span style="font-size: 90%"> When you know what 'tis,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You will think otherwise; no less will do it</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Than fifty thousand crowns.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Camiola.</span></span><span style="font-size: 90%"> A pretty sum,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The price weighed with the purchase; fifty thousand!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To the king 'tis nothing. He that can spare more</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To his minion for a masque, cannot but ransom</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Such a brother at a million.</span><a id="noteref_71" name="noteref_71" href="#note_71"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">71</span></span></a></div> +</div> + +<span class="tei tei-pb" id="page017">[pg 017]</span><a name="Pg017" id="Pg017" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Camiola.</span></span><span style="font-size: 90%"> With your leave, I must not kneel, sir,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">While I reply to this, but thus rise up</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In my defence, and tell you, as a man</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Since, when you are unjust, the deity,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which you may challenge as a king, parts from you,)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">'Twas never read in holy writ, or moral,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That subjects on their loyalty, were obliged</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To love their sovereign's vices; your grace, sir,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To such an undeserver is no virtue.</span><a id="noteref_72" name="noteref_72" href="#note_72"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">72</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There are also passages in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span> +which seem to attack the Government of the day and its +agents.<a id="noteref_73" name="noteref_73" href="#note_73"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">73</span></span></a> I will quote the chief of these as a specimen of +honest indignation: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Pulcheria.</span></span><span style="font-size: 90%"> How I abuse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This precious time! Projector, I treat first</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of you and your disciples; you roar out,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All is the king's, his will above his laws;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And that fit tributes are too gentle yokes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For his poor subjects; whispering in his ear,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If he would have their fear, no man should dare</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To bring a salad from his country garden,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Without the paying gabel; kill a hen,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Without excise; and that if he desire</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To have his children or his servants wear</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their heads upon their shoulders, you affirm</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In policy 'tis fit the owner should</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Pay for them by the poll</span><a id="noteref_74" name="noteref_74" href="#note_74"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">74</span></span></a><span style="font-size: 90%">; or, if the prince wants</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A present sum he may command a city</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Impossibilities, and for non-performance</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Compel it to submit to any fine</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His officers shall impose. Is this the way</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To make our emperor happy? Can the groans</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of his subjects yield him music? Must his thoughts</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Be wash'd with widows' and wrong'd orphans' tears,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or his power grow contemptible?</span><a id="noteref_75" name="noteref_75" href="#note_75"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">75</span></span></a></div> +</div> +</div> + +<span class="tei tei-pb" id="page018">[pg 018]</span><a name="Pg018" id="Pg018" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The Englishman's love of liberty inspires a vigorous +speech delivered by the British slave in <span class="tei tei-hi"><span style="font-style: italic">The Virgin +Martyr</span></span>.<a id="noteref_76" name="noteref_76" href="#note_76"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">76</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Further, the impatience which Englishmen felt from +time to time at the poor part played by their country in +the Thirty Years' War is reflected in <span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span>. +Bertoldo there gets leave from the King of Sicily to go to +help the beleaguered Duke of Urbin. He is, however, +disavowed by the crafty, peace-loving king. In the +debate Bertoldo describes Sicily in language which might +easily be applied to England, and then proceeds in an +eloquent passage to refer to England's glorious naval +tradition in the past: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Bertoldo.</span></span><span style="font-size: 90%"> If examples</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">May move you more than arguments, look on England,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The empress of the European isles,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And unto whom alone ours yields precedence:</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When did she flourish so, as when she was</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The mistress of the ocean, her navies</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Putting a girdle round about the world?</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When the Iberian quaked, her worthies named;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And the fair flower-de-luce grew pale, set by</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The red rose and the white! Let not our armour</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Hung up, or our unrigg'd Armada make us</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ridiculous to the late poor snakes, our neighbours,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Warm'd in our bosoms, and to whom again</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">We may be terrible.</span><a id="noteref_77" name="noteref_77" href="#note_77"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">77</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Here, at any rate, Massinger differs from Shakspere, +who makes no reference to the exploits of our sailors; +indeed, it would seem that, like Trafalgar, the defeat of +the Armada had no significance for its own generation.<a id="noteref_78" name="noteref_78" href="#note_78"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">78</span></span></a> +But we must not forget that Massinger was the bosom +<span class="tei tei-pb" id="page019">[pg 019]</span><a name="Pg019" id="Pg019" class="tei tei-anchor"></a> +friend of Fletcher, in whose plays sailors occur again and +again.<a id="noteref_79" name="noteref_79" href="#note_79"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">79</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The fact that Massinger was a Cavalier <span class="tei tei-q">“Radical,”</span> a +free lance and grumbler of the Opposition, may in part +explain his struggles and his poverty. His natural +patrons may have looked askance at his independent attitude, +so alien to the passive obedience preached by +Fletcher. But, whatever were his politics, it is clear that +he was no Puritan. Brought up in close contact with a +noble house, educated at Oxford, and well versed in the +classics,<a id="noteref_80" name="noteref_80" href="#note_80"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">80</span></span></a> as many allusions in his works testify, he shows +alike in his merits and his faults the Cavalier mind. To +this extent he may be judged <span class="tei tei-q">“<span class="tei tei-hi"><span style="font-style: italic">felix opportunitate mortis</span></span>,”</span> +for of all sections of the nation those whose hearts were +with the King, and their reason with the Opposition, had +the hardest part to play after 1640. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In the department of literature the talent of the +country had concentrated itself more and more on play-writing. +Among Massinger's contemporaries we note +Jonson, Chapman, Fletcher, Beaumont, Webster, Middleton, +Dekker, Heywood, Rowley, Tourneur, Shirley—all +keen and able dramatists. Massinger, in his grasp of stagecraft, +his flexible metre, his desire in the sphere of ethics +to exploit both vice and virtue, is typical of an age which +had much culture, but which, without being exactly +corrupt, lacked moral fibre. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +His plays may be divided into three classes: first, those +which have come down to us under his name; secondly, +<span class="tei tei-pb" id="page020">[pg 020]</span><a name="Pg020" id="Pg020" class="tei tei-anchor"></a> +those which he wrote with Fletcher or other authors; +and, thirdly, those which have disappeared. It is not +easy to draw the border-line between the first and second +classes. In the last forty years the students of English +literature have devoted much attention to verse and other +tests, and there are those who profess themselves competent +to decide which parts of a composite play were +written by the various collaborators. It is clear that the +use of these tests requires caution. An author may +sometimes experiment in the style of somebody else; it +has been held that Shakspere wrote <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> in the +manner of Fletcher, his younger rival; and Delius was of +opinion that <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span> is due to two +imitators, one of Shakspere and one of Fletcher. Boyle +speaks confidently as follows:<a id="noteref_81" name="noteref_81" href="#note_81"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">81</span></span></a> <span class="tei tei-q">“Mr. Fleay used almost +exclusively versification to distinguish author from author. +Nor is this by any means so bold an undertaking as it +seems. I have used other tests apart from the versification, +and have almost uniformly found the impressions +derived from the latter correct.”</span> Our confidence in +Boyle is shaken when he attributes<a id="noteref_82" name="noteref_82" href="#note_82"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">82</span></span></a> the first two acts of +<span class="tei tei-hi"><span style="font-style: italic">A New Way to pay Old Debts</span></span> to Fletcher on the evidence +of the double endings. He points out that the allusion to +the taking of Breda on July 1st, 1625,<a id="noteref_83" name="noteref_83" href="#note_83"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">83</span></span></a> is just possible, +as Fletcher was buried on August 29th, 1625. This is +clearly a case where we must take other than metrical +considerations into account. Has the comedy the sparkle, +the bustle, and the improbability of Fletcher? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Again, it is not too much to say that it is a waste of +time to apply verse tests to Tourneur; a great part of the +<span class="tei tei-hi"><span style="font-style: italic">Atheist's Tragedy</span></span> is not poetry at all, but prose measured +off in lengths. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span> states on its title-page that Dekker +was part author. Similarly, <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span> was partly +<span class="tei tei-pb" id="page021">[pg 021]</span><a name="Pg021" id="Pg021" class="tei tei-anchor"></a> +due to Field. Part of <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span><a id="noteref_84" name="noteref_84" href="#note_84"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">84</span></span></a> is held by many +critics to be written by Fletcher; certainly the style of +the play is in places more tender and more racy than +we should expect from Massinger. <span class="tei tei-hi"><span style="font-style: italic">The Old Law</span></span> is said +to have been written by Massinger, Middleton, and +Rowley. It was a popular play, and often revived; its +first appearance was in 1599,<a id="noteref_85" name="noteref_85" href="#note_85"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">85</span></span></a> when our poet was but +fifteen years old. His share in it must therefore consist +of additions or modifications at a later date. Certainly +there is little in the play which reminds one of him; +original as is its plot, and tender its pathos, both its +tragedy and comedy are in a simpler manner than his.<a id="noteref_86" name="noteref_86" href="#note_86"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">86</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On the other hand, Boyle arrives at some startling +results when he investigates the works of Fletcher.<a id="noteref_87" name="noteref_87" href="#note_87"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">87</span></span></a> +He attributes to Massinger parts of <span class="tei tei-hi"><span style="font-style: italic">Thierry and +Theodoret</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Queen of Corinth</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Knight of Malta</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Custom of the Country</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Little French Lawyer</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The +Fair Maid of the Inn</span></span>, and of several other plays.<a id="noteref_88" name="noteref_88" href="#note_88"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">88</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It may appear strange that in order to estimate Massinger +we should have to read Fletcher as well; but to +this the scientific study of English brings us.<a id="noteref_89" name="noteref_89" href="#note_89"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">89</span></span></a> Boyle +<span class="tei tei-pb" id="page022">[pg 022]</span><a name="Pg022" id="Pg022" class="tei tei-anchor"></a> +declares that <span class="tei tei-q">“we ought in future to have no more +editions of Beaumont and Fletcher, but the plays of +Beaumont, Fletcher, and Massinger arranged in nine +groups.”</span><a id="noteref_90" name="noteref_90" href="#note_90"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">90</span></span></a> The verdict of experts cannot be disregarded +in this matter; there is a real danger that Massinger's +merits will be underrated if we do not attempt to estimate +the share which he took in writing the plays attributed +to Fletcher. His friend Sir Aston Cokaine might have +done us a great service here, but, unfortunately, he missed +his opportunity. In a poem<a id="noteref_91" name="noteref_91" href="#note_91"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">91</span></span></a> relating to Shirley's +edition of Beaumont and Fletcher's works published in +1647,<a id="noteref_92" name="noteref_92" href="#note_92"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">92</span></span></a> he points out that the title is inaccurate for two +reasons: first, because many of the plays were written +after Beaumont's death; secondly, because Massinger +wrote parts of some of them; it is a great pity that he +did not tell us which these plays were. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But worse still remains behind; if we are to believe +Boyle, it is practically certain that Massinger and +Fletcher wrote <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span><a id="noteref_93" name="noteref_93" href="#note_93"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">93</span></span></a> and <span class="tei tei-hi"><span style="font-style: italic">The Two Noble +</span><span class="tei tei-pb" id="page023">[pg 023]</span><a name="Pg023" id="Pg023" class="tei tei-anchor"></a><span style="font-style: italic"> +Kinsmen</span></span>.<a id="noteref_94" name="noteref_94" href="#note_94"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">94</span></span></a> It must be pointed out that there are still good +critics who attribute a large part of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> to +Shakspere, and a small part of <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>. +It would take us too far from our subject to enter in +detail on these two difficult problems. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Then, in the third place, there are the plays that are +lost. In the eighteenth century there was a certain John +Warburton, F.R.S. and F.S.A., Somerset herald, who +collected no fewer than fifty-five genuine unpublished +dramas of the golden period, which he handed over to the +care of his cook until he could find someone to publish +them. The cook appropriated these plays leaf by leaf +for coverings for her pastry, and a certain number of +Massinger's—possibly as many as ten—perished among +them. Here are the names of some of them: <span class="tei tei-hi"><span style="font-style: italic">The Forced +</span><span class="tei tei-pb" id="page024">[pg 024]</span><a name="Pg024" id="Pg024" class="tei tei-anchor"></a><span style="font-style: italic"> +Lady</span></span>, a tragedy; <span class="tei tei-hi"><span style="font-style: italic">The Noble Choice</span></span>, a comedy; <span class="tei tei-hi"><span style="font-style: italic">The +Wandering Lovers</span></span>, a comedy; <span class="tei tei-hi"><span style="font-style: italic">Philenzo and Hippolita</span></span>, a +tragi-comedy.<a id="noteref_95" name="noteref_95" href="#note_95"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">95</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It may be a consolation when we grieve over this disaster<a id="noteref_96" name="noteref_96" href="#note_96"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">96</span></span></a> +to reflect that many of the fifty-five plays may +not have been worth reading; eight of them were early +works of Massinger's, and may have been immature or +even unsuccessful. There is a presumption in favour of +this supposition, for his more famous plays appeared +separately in quarto, and most of them can still be procured +from dealers in that form; we must suppose that +Mr. Warburton had only what are called actors'—<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, +manuscript—copies. If a play never attained the distinction +of being printed there may have been some +defect which militated against its success. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Colonel Cunningham in his edition gives us the names +of thirty-seven plays in all from Massinger's pen; if the +many be added to this total in which he joined with other +writers, we have a considerable literary output for a life +of fifty-five years. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger, like Shakspere, fell into disfavour after +the Restoration, when Beaumont and Fletcher carried +everything before them. We learn from Malone's +Preface<a id="noteref_97" name="noteref_97" href="#note_97"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">97</span></span></a> that <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span> was acted in 1661 and +<span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span> on January 10th, 1662; <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span> +on June 6th in the same year. Pepys saw <span class="tei tei-hi"><span style="font-style: italic">The +Virgin Martyr</span></span>, and liked it,<a id="noteref_98" name="noteref_98" href="#note_98"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">98</span></span></a> more, however, for the music +than the words. Dryden and Jeremy Collier never mention +Massinger. Selections from <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span> appeared +in prose form, with insertions from <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, in +<span class="tei tei-pb" id="page025">[pg 025]</span><a name="Pg025" id="Pg025" class="tei tei-anchor"></a> +1680, under the title <span class="tei tei-hi"><span style="font-style: italic">Love Lost in the Dark, or the +Drunken Couple</span></span>. Adorio and the other names are the +same, but the Guardian's part disappears, and his remarks +are put in Adorio's mouth. A servant, Calandrino, is +brought in, whose name is borrowed from <span class="tei tei-hi"><span style="font-style: italic">The Great Duke +of Florence</span></span>, and Muggulla, a nurse, is added to be Calandrino's +bride. The contents are worthy of the title. +Monck Mason deplores the fact that Johnson's dictionary +does not once quote Massinger or Beaumont and +Fletcher. <span class="tei tei-q">“They are more correct,”</span> he says, <span class="tei tei-q">“and +grammatical than Shakspere, and appear to have had a +more competent knowledge of other languages, which +gave them a more accurate idea of their own.”</span> There +was a great reaction in the eighteenth century in favour +of Massinger. Brander Matthews points out that <span class="tei tei-hi"><span style="font-style: italic">The New +Way</span></span> is the only Elizabethan or Jacobean play, except +Shakspere's, which held the stage until the first quarter +of the nineteenth century,<a id="noteref_99" name="noteref_99" href="#note_99"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">99</span></span></a> and gives a good history of +its illustrious career on the English and American stages. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The critics have differed much about Massinger. +Gifford<a id="noteref_100" name="noteref_100" href="#note_100"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">100</span></span></a> and Hallam were enthusiastic in their support; +Charles Lamb and Hazlitt<a id="noteref_101" name="noteref_101" href="#note_101"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">101</span></span></a> were against him, perhaps +because they disliked his able Tory editor. The +eighteenth-century writers regarded him as the champion +of female virtue; and in our own time Sir A. Ward has +defended his manly and sane morality in unhesitating +language.<a id="noteref_102" name="noteref_102" href="#note_102"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">102</span></span></a> On the other hand, Boyle deems his heroines +to be corrupt and his heroes <span class="tei tei-q">“the victims of one devouring +<span class="tei tei-pb" id="page026">[pg 026]</span><a name="Pg026" id="Pg026" class="tei tei-anchor"></a> +passion, often in a state of incipient madness, alternately +raging and melancholy.”</span><a id="noteref_103" name="noteref_103" href="#note_103"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">103</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Like Euripides, Ovid, and Juvenal, Massinger is a +writer whose faults are patent; all the more important, +therefore, is it to make his merits quite clear. We cannot +convince the world if we adopt the famous line of Goethe's +heroine: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I cannot reason, I can only feel.</span><a id="noteref_104" name="noteref_104" href="#note_104"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">104</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I do not indeed claim to discover much that is new +about Massinger, nor to reverse the judgment of time. +He is, and he remains, in the second rank of English +writers. But it would be a misfortune if undue obscurity +were to befall an author who was at once so manly and +so skilful. I take up the cudgels for him, partly because +the balance of critical judgment has of late gone too far +against him; and yet in a sense he has only come into his +own in the last thirty years, by reason of the unanimity +with which so much good strong work in Fletcher's plays +is now deemed to be due to him. He has received much +praise and much blame; I should like by careful analysis +of the problem to arrive at a juster judgment. But +in the main, I must confess, I plead for Massinger because +I love him. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +What, then, are the chief merits of our author? They +are three: his stagecraft, his style, and his metre. And, +first, his command of stagecraft has been universally +conceded.<a id="noteref_105" name="noteref_105" href="#note_105"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">105</span></span></a> This is an important point; it is as much as +to say that the plays are readable and would act well;<a id="noteref_106" name="noteref_106" href="#note_106"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">106</span></span></a> +<span class="tei tei-pb" id="page027">[pg 027]</span><a name="Pg027" id="Pg027" class="tei tei-anchor"></a> +when you begin one of them you wish to know what is +going to happen. The first act has usually a great breadth +and swing; it is admirably proportioned and dignified. +The chief characters are introduced, and the train is well +laid, without stiffness or delay. Good examples of this +fact are to be found in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Emperor +of the East</span></span>. In <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span> the first scene at once +reveals the object of the plot, the rescue of Paulina. In +<span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span> Marullo enters at line 38, and our attention +is called to him by Leosthenes. As the play progresses +you feel that it is what the French call <span lang="fr" class="tei tei-foreign" xml:lang="fr"><span style="font-style: italic">bien charpenté</span></span>—well +constructed. If, as is often the case, there is a +mystery or a secret, it is sufficiently well kept to excite +the curiosity. The author does not depend very much +on soliloquies or disguises; he does not, as a rule, complicate +matters by underplots and cross-interests. The +stage is not overcrowded; you do not feel the need of +constantly referring to the list of <span class="tei tei-hi"><span style="font-style: italic">dramatis personae</span></span>. A +curious instance of this economy is <span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span>, +where there is no Queen of Sicily. Minor characters when +they reappear are recognized and provided for, as, for +example, Calypso in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span> (IV., 3). The conscientious +author forgets no detail in order to round off +his plot; thus in the same play the blow struck at the +beginning is apologized for in V., 3, 250. Nor is there a +reckless change of scene. Moreover, a lifelike effect is +given by the fact that speeches generally end in the middle +of a line. As so often in Euripides, the people say the +sort of things that under the circumstances you would +expect them to say in real life.<a id="noteref_107" name="noteref_107" href="#note_107"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">107</span></span></a> A comparison of Massinger +<span class="tei tei-pb" id="page028">[pg 028]</span><a name="Pg028" id="Pg028" class="tei tei-anchor"></a> +with Ben Jonson will make this ease of construction +clear at once. Köppel has noted the skill with which +the narratives of Suetonius and Dion Cassius are combined +in <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>. It may sound obvious to add +that the titles of the plays correspond to the chief subject-matter, +were it not that in so many of the Elizabethan +plays this is not the case. Take as examples Middleton's +<span class="tei tei-hi"><span style="font-style: italic">Changeling</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Mayor of Queenborough</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Yet it would be too much to say that all Massinger's +plays are equally successful in this respect. The plot of +<span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>, for example, is unusually intricate. Like +Shakspere, he occasionally crowds too much into the +fifth act—for instance, in <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span>. The +device of the apple which produces so much jealousy and +trouble in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span> is rather trivial for a +tragi-comedy.<a id="noteref_108" name="noteref_108" href="#note_108"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">108</span></span></a> The promise of Cleora to wear a scarf +over her eyes until her jealous lover returns from the +war is exasperating.<a id="noteref_109" name="noteref_109" href="#note_109"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">109</span></span></a> Again, Camiola in <span class="tei tei-hi"><span style="font-style: italic">The Maid of +Honour</span></span> (III., 3, 200) forgets that Bertoldo is <span class="tei tei-q">“bound to +a single life,”</span> as she had herself pointed out to him +(I., 2, 148). Nor does Bertoldo (IV., 3, 100) in his +acceptance of her offer say anything about the necessary +dispensation. On the other hand, Massinger avoids +those scenes on board ship of which Fletcher is so fond, +and which on the Jacobean stage must have been ineffective +to the spectators, and indeed, are so on any stage.<a id="noteref_110" name="noteref_110" href="#note_110"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">110</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Similarly, it is clear that torture on the stage can +hardly be made effective.<a id="noteref_111" name="noteref_111" href="#note_111"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">111</span></span></a> +</p> + +<span class="tei tei-pb" id="page029">[pg 029]</span><a name="Pg029" id="Pg029" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +One of Massinger's favourite devices is to combine +subordinates. He has learnt from <span class="tei tei-hi"><span style="font-style: italic">Hamlet</span></span> the lesson of +Rosencrantz and Guildenstern. He has studied the +method of such scenes as <span class="tei tei-hi"><span style="font-style: italic">Henry V.</span></span>, I., 2, 97-135; II., 2; +III., 5; III., 7. If something has to be done, two or +three people express their eagerness to do it. If someone +has to be persuaded, two or three of the characters press +home the various arguments. This all works for lucidity +and ease, and presents a lifelike combination on the stage.<a id="noteref_112" name="noteref_112" href="#note_112"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">112</span></span></a> +Instances of the device abound; let us take one from <span class="tei tei-hi"><span style="font-style: italic">The +Picture</span></span>.<a id="noteref_113" name="noteref_113" href="#note_113"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">113</span></span></a> The great soldier Ferdinand, on his return from +<span class="tei tei-pb" id="page030">[pg 030]</span><a name="Pg030" id="Pg030" class="tei tei-anchor"></a> +the wars, is received courteously by the old Counsellor +Eubulus, but the fashionable young men, Ubaldo and +Ricardo, think they can do the thing better; the passage +runs thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ricardo.</span></span><span style="font-size: 90%"> This was pretty;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But second me now; I cannot stoop too low</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To do your excellence that due observance</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your fortune claims.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Eubulus.</span></span><span style="font-size: 90%"> He ne'er thinks on his virtues!</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ricardo.</span></span><span style="font-size: 90%"> For, being as you are, the soul of soldiers,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And bulwark of Bellona——</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ubaldo.</span></span><span style="font-size: 90%"> The protection</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Both of the court and king——</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ricardo.</span></span><span style="font-size: 90%"> And the sole minion</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of mighty Mars——</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ubaldo.</span></span><span style="font-size: 90%"> One that with justice may</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Increase the number of the worthies——</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Eubulus.</span></span><span style="font-size: 90%"> Heyday!</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ricardo.</span></span><span style="font-size: 90%"> It being impossible in my arms to circle</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Such giant worth——</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ubaldo.</span></span><span style="font-size: 90%"> At distance we presume</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To kiss your honour'd gauntlet.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Eubulus.</span></span><span style="font-size: 90%"> What reply now</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Can he make to this foppery?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ferdinand.</span></span><span style="font-size: 90%"> You have said,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Gallants, so much and hitherto done so little,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That till I learn to speak and you to do,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I must take time to thank you.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Eubulus.</span></span><span style="font-size: 90%"> As I live,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Answer'd as I could wish, how the fops gape now!</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ricardo.</span></span><span style="font-size: 90%"> This was harsh and scurvy.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ubaldo.</span></span><span style="font-size: 90%"> We will be revenged,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When he comes to court the ladies, and laugh at him.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Another of Massinger's effective devices is to sustain +the interest of the spectators by concealing characters +<span class="tei tei-pb" id="page031">[pg 031]</span><a name="Pg031" id="Pg031" class="tei tei-anchor"></a> +and facts; thus, in <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span> we do not fathom +for some time the villainy of Francisco; in <span class="tei tei-hi"><span style="font-style: italic">The City +Madam</span></span> we ponder from the beginning over the obscure +character of Luke. The best instances of this expedient +are to be found in <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>. +The air of gloom which overhangs the former +tragedy is as great in its way as anything which our +author has attained; and though the play is what we may +call Elizabethan rather than for all time, yet it is in some +sense the best specimen of his serious work. The desire of +Malefort is that of the father in Shelley's <span class="tei tei-hi"><span style="font-style: italic">Cenci</span></span>; and +perhaps the only way to prevent the theme from being +intolerable was to veil it as long as possible, and to raise +the spectators' sympathy at first for a man who had +fought well for the State, and who to all appearance was +badly treated by his pirate son.<a id="noteref_114" name="noteref_114" href="#note_114"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">114</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, +Marullo and Timandra, the brother and sister, are concealed +till the very end, when they reveal themselves +to be Pisander and Statilia—thereby bringing to an +unexpected conclusion a plot which seemed to offer no +solution.<a id="noteref_115" name="noteref_115" href="#note_115"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">115</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span> the method is varied a little: here +we have one of Massinger's greatest creations, the fawning +hypocrite, Luke. Indications of his future development +are skilfully given from time to time, so that when this +alarming person at length shows himself in his true colours +we shiver without being surprised. The same idea shows +itself in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>,<a id="noteref_116" name="noteref_116" href="#note_116"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">116</span></span></a> in the skill with which Donusa +leads up to her proposal that Vitelli should turn Mahometan; +and in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>,<a id="noteref_117" name="noteref_117" href="#note_117"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">117</span></span></a> where Artemia prepares +the way for the offer of her hand to Antoninus. +</p> + +<span class="tei tei-pb" id="page032">[pg 032]</span><a name="Pg032" id="Pg032" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger is never so happy as when he has an opportunity +in his well-proportioned scenes for displays of +rhetoric, such as we find in Euripides, where character +argues against character.<a id="noteref_118" name="noteref_118" href="#note_118"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">118</span></span></a> These scenes are often thrown +into the form of a trial at law or a debate in the Senate.<a id="noteref_119" name="noteref_119" href="#note_119"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">119</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The plays end well and effectively; our author excels +in the tragi-comedy, a type much affected by Fletcher. +Like all his contemporaries, he felt that the intermixture +of a lighter element in a play which ended happily was +justifiable.<a id="noteref_120" name="noteref_120" href="#note_120"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">120</span></span></a> The haste which Shakspere sometimes shows +in his fifth act is, as a rule, not apparent in Massinger. +For example, in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, the death of the +heroine occurs at the end of the fourth act. To all +appearance there is bound to be an anticlimax in the +fifth act. But there is not; on the contrary, the appearance +of the heavenly messenger, bearing the fruits of +Paradise to the cruel persecutor Theophilus, elevates the +mind into a state of surprise and admiration. It has +often been pointed out that the appearance of a deity to +<span class="tei tei-pb" id="page033">[pg 033]</span><a name="Pg033" id="Pg033" class="tei tei-anchor"></a> +cut the knot at the end of a play of Euripides, which +sometimes irritates the thinker in his study, and provokes +him to write essays on the bad art and theology of the +poet, is dazzlingly beautiful on the stage, and raises +associations of sublimity and awe; it may in the same +way be imagined how effective must have been the procession +at the end of <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>. The stage +directions run as follows: <span class="tei tei-q">“Enter Dorothea in a white +robe, crownes upon her head, led in by Angels, Antoninus, +Caliste, and Christeta following, all in white, but lesse +glorious, the Angell with a Crowne for him”</span> (<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, Theophilus). +At the sight of the glorious vision the persecutor +dies, converted to the Christian faith, and the evil spirit, +which has prompted his cruel acts, sinks to his own place +with thunder and lightning, while Diocletian and his court +look on in amazement. Similarly, in <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span> +there is no anticlimax; though Paris dies in the fourth +act,<a id="noteref_121" name="noteref_121" href="#note_121"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">121</span></span></a> we feel that the tragedy is incomplete until it is +rounded off by the punishment of the Emperor Domitian, +which we breathlessly await. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Secondly, Massinger has a beautiful style. This point +again is conceded by all the critics. The elegance of his +dedications shows that had he wished he could have +written excellent prose.<a id="noteref_122" name="noteref_122" href="#note_122"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">122</span></span></a> One who depreciates him +allows that his style is <span class="tei tei-q">“pure and free from violent metaphors +and harsh constructions.”</span><a id="noteref_123" name="noteref_123" href="#note_123"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">123</span></span></a> It has the grace and +balance which one would expect from a well-bred and +educated man, owing little to ornament or epithets or +images. It serves its purpose, which is to tell a story +<span class="tei tei-pb" id="page034">[pg 034]</span><a name="Pg034" id="Pg034" class="tei tei-anchor"></a> +rapidly, and to unfold character rather than to display +the author's command of language or subtlety of thought +and expression. Seldom trivial, it is never prosaic, and +yet it is constantly on the border-line of prose. Massinger +thought in blank verse because he was a dramatist +rather than because he was a poet. Hence his enemies +might say that his lines are prose in lengths; yet that +would be an unjust accusation. The poetical <span class="tei tei-q">“colour”</span> +is here, the ideal dignity, the atmosphere, although they +obtrude themselves less on the reader than in most poets. +Like Ovid, Massinger is one whose amazing facility carries +us along like a flood—a writer who should be read in +large quantities at a time, +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">Whose easy Pegasus will amble o'er</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">Some three-score miles of fancy in an hour.</span><span style="font-size: 90%">”</span></span><a id="noteref_124" name="noteref_124" href="#note_124"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">124</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It needs little argument to show that a poet of this +order can easily secure the effect of verisimilitude to life, +and will owe much of his success to that fact. Style +naturally appeals differently to different people; there +are those who are captivated by the glamour of Shelley +and Swinburne, or the pomp of Jeremy Taylor; there are +also those who enjoy the severity of <span class="tei tei-hi"><span style="font-style: italic">Paradise Regained</span></span>, +and the simplicity of Newman's <span class="tei tei-hi"><span style="font-style: italic">Sermons</span></span>. In an age +like the present, when many of our poets, like our musicians, +whatever else they are, either will not or cannot be +simple, it is refreshing to turn to an author who is always +lucid, and who is content to tell a story to the best of his +ability. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There are times when the style of Massinger rises into +solemn eloquence, especially when he indulges in the +moralizing vein. Unlike some of his literary contemporaries, +Massinger wishes to show Virtue triumphant +and Vice beaten. Vice is never glorified in his pages, or +condoned. Honest indignation is perhaps the emotion +<span class="tei tei-pb" id="page035">[pg 035]</span><a name="Pg035" id="Pg035" class="tei tei-anchor"></a> +which he handles best. The uncontrollable anger which +meanness and unworthiness provoke expresses itself in +lofty language. Forcible and plain-spoken rebukes are +found, which show that Massinger could be curt when he +pleased. The plays are full of high-spirited passages, +affording admirable opportunities for a master of elocution. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let me give a specimen of just anger in the speech of +Marullo. Marullo is the leader of the revolt of the +slaves at Syracuse, and he is addressing their former lords +and masters: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 30.60em"><span style="font-size: 90%">Briefly thus then,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Since I must speak for all,—your tyranny</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Drew us from our obedience. Happy those times</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When lords were styled fathers of families,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And not imperious masters! when they number'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their servants almost equal with their sons,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or one degree beneath them! when their labours</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Were cherish'd and rewarded, and a period</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Set to their sufferings; when they did not press</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their duties or their wills, beyond the power</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And strength of their performance! all things order'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With such decorum, as wise lawmakers</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">From each well-govern'd private house deriv'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The perfect model of a Commonwealth.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Humanity then lodged in the hearts of men,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And thankful masters carefully provided</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For creatures wanting reason. The noble horse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That, in his fiery youth, from his wide nostrils</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Neigh'd courage to his rider, and brake through</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Groves of opposed pikes, bearing his lord</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Safe to triumphant victory, old or wounded,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Was set at liberty and freed from service.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The Athenian mules that from the quarry drew</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Marble, hew'd for the temples of the gods,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The great work ended, were dismiss'd and fed</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">At the public cost; nay, faithful dogs have found</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their sepulchres; but man to man more cruel,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Appoints no end to the sufferings of his slave;</span></div> +<span class="tei tei-pb" id="page036">[pg 036]</span><a name="Pg036" id="Pg036" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Since pride stepp'd in and riot, and o'erturned</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This goodly frame of concord, teaching masters</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To glory in the abuse of such as are</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Brought under their command; who grown unuseful,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Are less esteem'd than beasts. This you have practis'd,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Practis'd on us with rigour; this hath forced us</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To shake our heavy yokes off; and, if redress</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of these just grievances be not granted us,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">We'll right ourselves, and by strong hand defend</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What we are now possess'd of.</span><a id="noteref_125" name="noteref_125" href="#note_125"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">125</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In a lower key of manly dignity is the speech of Charalois +before the Judges in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>. It begins +thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">Thus low my duty</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Answers your lordships' counsel. I will use,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In the few words with which I am to trouble</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your lordships' ears the temper that you wish me;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Not that I fear to speak my thoughts as loud,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And with a liberty beyond Romont;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But that I know, for me that am made up</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of all that's wretched, so to haste my end,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Would seem to most rather a willingness</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To quit the burden of a hopeless life</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Than scorn of death or duty to the dead.</span><a id="noteref_126" name="noteref_126" href="#note_126"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">126</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As an example of a high-spirited passage, a speech may +be given from <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>. Cleora, the heroine, comes +forward in a meeting of the Senate to urge patriotic effort +on her fellow-countrymen. Timoleon, the general, is in +the chair, and she addresses him first: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Cleora.</span></span><span style="font-size: 90%"> If a virgin,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Whose speech was ever yet ushered with fear;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">One knowing modesty and humble silence</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To be the choicest ornaments of our sex</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In the presence of so many reverend men,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Struck dumb with terror and astonishment,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Presume to clothe her thought in vocal sounds,</span></div> +<span class="tei tei-pb" id="page037">[pg 037]</span><a name="Pg037" id="Pg037" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Let her find pardon. First to you, great sir,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A bashful maid's thanks, and her zealous prayers,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Wing'd with pure innocence, bearing them to heaven,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For all prosperity that the gods can give</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To one whose piety must exact their care,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thus low I offer.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Timoleon.</span></span><span style="font-size: 90%"> 'Tis a happy omen.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Rise, blest one, and speak boldly. On my virtue</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I am thy warrant, from so clear a spring</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Sweet rivers ever flow.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Cleora.</span></span><span style="font-size: 90%"> Then thus to you,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My noble father, and these lords, to whom</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I next owe duty; no respect forgotten</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To you my brother, and these bold young men</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Such I would have them) that are, or should be,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The city's sword and target of defence,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To all of you I speak; and if a blush</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Steal on my cheeks, it is shown to reprove</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your paleness, willingly I would not say,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your cowardice or fear; think you all treasure</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Hid in the bowels of the earth, or shipwreck'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In Neptune's wat'ry kingdom, can hold weight,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When liberty and honour fill one scale,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Triumphant Justice sitting on the beam?</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or dare you but imagine that your gold is</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Too dear a salary for such as hazard</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their blood and lives in your defence? For me,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">An ignorant girl, bear witness! heaven, so far</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I prize a soldier, that to give him pay,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With such devotion as our flamens offer</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their sacrifices at the holy altar,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I do lay down these jewels, will make sale</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of my superfluous wardrobe, to supply</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The meanest of their wants.</span><a id="noteref_127" name="noteref_127" href="#note_127"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">127</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This passage is printed in a broadside (headed <span class="tei tei-q">“Countrymen”</span>) +relating to the expected invasion of England by +Bonaparte, to be found at the British Museum. A short +<span class="tei tei-pb" id="page038">[pg 038]</span><a name="Pg038" id="Pg038" class="tei tei-anchor"></a> +statement of the plot of <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span> is followed by a +quotation of Act I., 3, 213-368, with one or two slight +omissions. Possibly Gifford inspired its publication. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Perhaps the most eloquent passage in Massinger is the +speech of Paris, the Roman actor, before the Senate, in +defence of his profession: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Aretinus.</span></span><span style="font-size: 90%"> Are you on the stage,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You talk so boldly?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Paris.</span></span><span style="font-size: 90%"> The whole world being one,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This place is not exempted; and I am</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">So confident in the justice of our cause,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That I would wish Cæsar, in whose great name</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All kings are comprehended, sate as judge</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To hear our plea, and then determine of us.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If to express a man sold to his lusts,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Wasting the treasure of his time and fortunes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In wanton dalliance, and to what sad end</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A wretch that's so given over does arrive at;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Deterring careless youth by his example,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">From such licentious courses; laying open</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The snares of bawds, and the consuming arts</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of prodigal strumpets, can deserve reproof;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Why are not all your golden principles</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Writ down by grave philosophers to instruct us,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To choose fair virtue for our guide, not pleasure,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Condemn'd unto the fire?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Sura.</span></span><span style="font-size: 90%"> There's spirit in this.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Paris.</span></span><span style="font-size: 90%"> Or if desire of honour was the base</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">On which the building of the Roman empire</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Was raised up to this height; if, to inflame</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The noble youth with an ambitious heat</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">T'endure the frosts of danger, nay, of death,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To be thought worthy the triumphal wreath,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By glorious undertakings, may deserve</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Reward, or favour from the commonwealth;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Actors may put in for as large a share</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As all the sects of the philosophers;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">They with cold precepts (perhaps seldom read)</span></div> +<span class="tei tei-pb" id="page039">[pg 039]</span><a name="Pg039" id="Pg039" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Deliver, what an honourable thing</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The active virtue is; but does that fire</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The blood, or swell the veins with emulation,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To be both good and great, equal to that</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which is presented in our theatres?</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Let a good actor, in a lofty scene,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Show great Alcides honour'd in the sweat</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of his twelve labours; or a bold Camillus</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Forbidding Rome to be redeem'd with gold</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">From the insulting Gauls; or Scipio,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">After his victories, imposing tribute</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">On conquer'd Carthage; if done to the life,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As if they saw their dangers, and their glories,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And did partake with them in their rewards,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All that have any spark of Roman in them,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The slothful arts laid by, contend to be</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Like those they see presented.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Rusticus.</span></span><span style="font-size: 90%"> He has put</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The consuls to their whisper.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Paris.</span></span><span style="font-size: 90%"> But, 'tis urged</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That we corrupt youth and traduce superiors.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When do we bring a vice upon the stage,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That does go off unpunish'd? Do we teach,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By the success of wicked undertakings,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Others to tread in their forbidden steps?</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">We shew no arts of Lydian panderism,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Corinthian poisons, Persian flatteries,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But mulcted so in the conclusion, that</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Even those spectators that were so inclined,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Go home changed men. And for traducing such</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That are above us, publishing to the world</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their secret crimes, we are as innocent</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As such as are born dumb. When we present</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">An heir, that does conspire against the life</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of his dear parent, numbering every hour</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He lives, as tedious to him; if there be,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Among the auditors, one whose conscience tells him</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He is of the same mould, we cannot help it.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or, bringing on the stage a loose adulteress,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That does maintain the riotous expense</span></div> +<span class="tei tei-pb" id="page040">[pg 040]</span><a name="Pg040" id="Pg040" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of him that feeds her greedy lust, yet suffers</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The lawful pledges of a former bed</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To starve the while for hunger; if a matron</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">However great in fortune, birth, or titles,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Guilty of such a foul, unnatural sin,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Cry out 'tis writ for me, we cannot help it.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or when a covetous man's express'd, whose wealth</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Arithmetic cannot number, and whose lordships</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A falcon in one day cannot fly over;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Yet he so sordid in his mind, so griping,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As not to afford himself the necessaries</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To maintain life; if a patrician</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Though honour'd with a consulship) find himself</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Touch'd to the quick in this, we cannot help it.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or, when we shew a judge that is corrupt,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And will give up his sentence, as he favours</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The person, not the cause; saving the guilty,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If of his faction, and as oft condemning</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The innocent, out of particular spleen;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If any in this reverend assembly,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nay, even yourself, my lord, that are the image</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of absent Cæsar, feel something in your bosom</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That puts you in remembrance of things past,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or things intended, 'tis not in us to help it.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I have said, my lord; and now as you find cause,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or censure us, or free us with applause.</span><a id="noteref_128" name="noteref_128" href="#note_128"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">128</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I will quote three more passages: one to show how lifelike +in description Massinger can be; the second, to show +how he can ennoble the expression of love; the third, to +show how tender he is at his best. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The first is from <span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span>. A soldier comes +in with news for the besieged general, who is standing on +the walls of Siena, looking for aid from his friends: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Enter</span></span><span style="font-size: 90%"> a Soldier. +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Ferdinand.</span></span><span style="font-size: 90%"> What news with thee?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Soldier.</span></span><span style="font-size: 90%"> From the turret of the fort,</span></div> +<span class="tei tei-pb" id="page041">[pg 041]</span><a name="Pg041" id="Pg041" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By the rising clouds of dust, through which, like lightning</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The splendour of bright arms sometimes brake through,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I did descry some forces making towards us;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And from the camp, as emulous of their glory,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The general, for I know him by his horse,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And bravely seconded, encounter'd them.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their greetings were too rough for friends; their swords,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And not their tongues, exchanging courtesies.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By this the main battalias are join'd;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And if you please to be spectators of</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The horrid issue, I will bring you where,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As in a theatre, you may see their fates</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In purple gore presented.</span><a id="noteref_129" name="noteref_129" href="#note_129"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">129</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The second is from <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>, where Marcelia +expresses her love for her lord, Sforza, the Duke of +Milan. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Marcelia.</span></span><span style="font-size: 90%"> My worthiest lord!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The only object I behold with pleasure,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My pride, my glory, in a word, my all!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Bear witness, heaven, that I esteem myself</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In nothing worthy of the meanest praise</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You can bestow, unless it be in this,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That in my heart, I love and honour you.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And, but that it would smell of arrogance</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To speak my strong desire and zeal to serve you,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I then could say, these eyes yet never saw</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The rising sun, but that my vows and prayers</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Were sent to heaven for the prosperity</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And safety of my lord, nor have I ever</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Had other study, but how to appear</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Worthy your favour; and that my embraces</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Might yield a fruitful harvest of content</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For all your noble travail, in the purchase</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of her that's still your servant; by these lips,</span></div> +<span class="tei tei-pb" id="page042">[pg 042]</span><a name="Pg042" id="Pg042" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which pardon me that I presume to kiss——</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Sforza.</span></span><span style="font-size: 90%"> O swear, for ever swear!</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Marcelia.</span></span><span style="font-size: 90%"> I ne'er will seek</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Delight but in your pleasure; and desire,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When you are sated</span><a id="noteref_130" name="noteref_130" href="#note_130"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">130</span></span></a><span style="font-size: 90%"> with all earthly glories,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And age and honours make you fit for heaven,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That one grave may receive us.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The third is from <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>; the disguised +John Antonio is telling his story at Almira's request: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Not far from where my father lives, a lady,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A neighbour by, blest with as great a beauty</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As nature durst bestow without undoing,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Dwelt, and most happily, as I thought then,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And bless'd the house a thousand times she dwelt in.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This beauty, in the blossom of my youth,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When my first fire felt no adulterate incense,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nor I no way to flatter, but my fondness;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In all the bravery my friends could show me,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In all the faith my innocence could give me,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In the best language my true tongue could tell me,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And all the broken sighs my sick heart lend me,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I sued and serv'd; long did I love this lady,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Long was my travail, long my trade to win her;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With all the duty of my soul I serv'd her.</span><a id="noteref_131" name="noteref_131" href="#note_131"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">131</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +At times the poet rises to what is not far removed from +inspiration; and such lines as the following from <span class="tei tei-hi"><span style="font-style: italic">The +Parliament of Love</span></span> make good the claim of English to be +the imperial language of the world. King Charles seeks +to justify the honours which he, the <span class="tei tei-q">“most Christian +king,”</span> gives to the statue of Cupid; he then continues +thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Charles.</span></span><span style="font-size: 90%"> 'Tis rather to instruct deceived mankind,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">How much pure love that has his birth in heaven,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And scorns to be received a guest, but in</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A noble heart prepared to entertain him,</span></div> +<span class="tei tei-pb" id="page043">[pg 043]</span><a name="Pg043" id="Pg043" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Is by the gross misprision of weak men,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Abused and injured. That celestial fire,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which hieroglyphically is described</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In this his bow, his quiver, and his torch,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">First warm'd their bloods, and after gave a name</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To the old heroic spirits; such as Orpheus,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That drew men, differing little then from beasts,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To civil government; or famed Alcides</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The tyrant-queller, that refused the plain</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And easy path leading to vicious pleasures,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And ending in a precipice deep as hell,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To scale the rugged cliffs on whose firm top</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Virtue and Honour, crown'd with wreaths of stars,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Did sit triumphant.</span><a id="noteref_132" name="noteref_132" href="#note_132"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">132</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But there is another characteristic of Massinger's style +and that perhaps more obvious still; it is full of courtliness +and grace. A perusal of <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>, where the +subject is the absurdity of the ladies of the Mansion House +who ape the manners of the West End, suggests the question +whether Massinger was ever attached to the Court. +We do not know. He must, at any rate, have moved +amongst refined and educated people. Napoléon said +that Corneille's plays ought to be performed to an audience +of ambassadors and ministers of state;<a id="noteref_133" name="noteref_133" href="#note_133"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">133</span></span></a> in the same +way, in reading Massinger, we feel that we are moving +freely in the palaces of the great. There is comparatively +little here of dialect<a id="noteref_134" name="noteref_134" href="#note_134"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">134</span></span></a> or low life; we are at once taken up +<span class="tei tei-pb" id="page044">[pg 044]</span><a name="Pg044" id="Pg044" class="tei tei-anchor"></a> +into high life with all its virtues and its faults. The kings +and courtiers behave and express themselves as we should +expect them to do; the politeness and the compliments +which we hear on every side have the merit of being +entirely natural. And if there is little to remind +us of Dickens, there is still less to recall Thackeray. +There is no air of snobbishness; such is the dexterity +of our author that we do not feel like Jeames +Yellowplush, that we are awkward menials watching the +doings of the titled and the great. Not only do the +characters move with an inborn grace which is free +from self-analysis and self-contempt, but they take +the audience up into their company; and as the +gallants of that era used sometimes to sit upon the +stage, close among the actors,<a id="noteref_135" name="noteref_135" href="#note_135"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">135</span></span></a> so in reading Massinger +we feel that we are unconsciously present at the scenes +he portrays. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This is as much as to say that the stage of those days +responded to a real and living need in the minds of the +audience; there was nothing exotic or artificial about it, +as there seems to have been about our plays ever since +the Puritans turned things upside down. It will be said +<span class="tei tei-pb" id="page045">[pg 045]</span><a name="Pg045" id="Pg045" class="tei tei-anchor"></a> +that this enchanted atmosphere belongs to all the greater +playwrights of the age alike. And this is true; it is one +of the secrets of their abiding charm. Brander Matthews, +in dealing with the unreality of Massinger's atmosphere, +says that <span class="tei tei-q">“some of Shakspere's most delightful plays, +<span class="tei tei-hi"><span style="font-style: italic">The Merchant of Venice</span></span> for one, and <span class="tei tei-hi"><span style="font-style: italic">Much Ado</span></span> for +another, are charming to us now only because we are +quite willing to make believe with the poet”</span> (<span class="tei tei-hi"><span style="font-style: italic">op. cit.</span></span>, +p. 311). And so, when Leslie Stephen asks if we are +<span class="tei tei-q">“invigorated”</span> by the perusal of Massinger's plays,<a id="noteref_136" name="noteref_136" href="#note_136"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">136</span></span></a> +I reply to that apostle of common sense that I am +not only charmed and delighted, but invigorated. And +why? Because I am admitted to a world of heroism +and romance. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But may we not put the matter more broadly still? +When we read the Cavalier lyrics of Suckling, Herrick, +and Lovelace, when we think of Falkland, when we stand +before the portraits of Vandyck, do we not feel that +modern England was in danger until lately of losing +something? There is an aroma there of chivalry which +had almost faded from our ken. And yet there is an +element in our shy and dumb English nature to which +this atmosphere is congenial, however overgrown with +money-making our minds had seemed to be. Nor, as the +student of history knows well, had the Puritans in the +Civil War the monopoly of religion and duty. Indeed, +the Civil War was a true tragedy, because both sides had +right, both fought and bled for what they believed to be +<span class="tei tei-pb" id="page046">[pg 046]</span><a name="Pg046" id="Pg046" class="tei tei-anchor"></a> +the truth. To-day, in spite of our many domestic discords, +no party spirit discounts the gallant deeds of +which we have read daily, and of which of necessity only +a fraction has been publicly rewarded. Perhaps the +flame of romance will breathe once more in our midst, +now the War is over, purified by suffering, and quickened +by the memory of those serene yet manly spirits whom +we have lost on the battlefield, whose departure in the +dayspring of life seems, as it were, to have extinguished +so many stars in the vault of heaven. They put aside +the calls of culture and pleasure, and the natural ambition +to do something in the world before they were +abolished by death. They have willingly given for their +country all that they had; they have given themselves. +If we remember their devotion with gratitude it may +purify us from the commonplace, the vulgar, and the +selfish. They, at any rate, can address the power of evil, +which for the moment seemed to triumph, in the words +of Dorothea: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What is this life to me? Not worth, a thought:</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or, if it be esteem'd, 'tis that I lose it</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To win a better; even thy malice serves</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To me but as a ladder to mount up</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To such a height of happiness, where I shall</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Look down with scorn on thee and on the world;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Where, circled with true pleasures, placed above</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The reach of death or time, 'twill be my glory</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To think at what an easy price I bought it.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">There's a perpetual spring, perpetual youth;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">No joint-benumbing cold, or scorching heat,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Famine, nor age, have any being there.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Forget for shame your Tempe; bury in</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Oblivion your feign'd Hesperian orchards;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The golden fruit, kept by the watchful dragon,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which did require a Hercules to get it,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Compared with what grows in all plenty there,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Deserves not to be named. The Power I serve</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Laughs at your happy Araby, or the</span></div> +<span class="tei tei-pb" id="page047">[pg 047]</span><a name="Pg047" id="Pg047" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Elysian shades; for He hath made His bowers</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Better in deed than you can fancy yours.</span><a id="noteref_137" name="noteref_137" href="#note_137"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">137</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As an instance of Massinger's courtliness I will quote +a short passage from <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>: Contarino +has come from the court of the Duke to fetch his +nephew Giovanni, who has been brought up by a tutor, +Charomonte by name, in the country. As the prince +comes in, Charomonte addresses Contarino: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Charomonte.</span></span><span style="font-size: 90%"> Make your approaches boldly; you will find</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A courteous entertainment. (</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Contarino</span></span> <span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">kneels</span></span><span style="font-size: 90%">.)</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Giovanni.</span></span><span style="font-size: 90%"> Pray you, forbear</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My hand, good signior; 'tis a ceremony</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Not due to me. 'Tis fit we should embrace</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With mutual arms.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Contarino.</span></span><span style="font-size: 90%"> It is a favour, sir,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I grieve to be denied.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Giovanni.</span></span><span style="font-size: 90%"> You shall o'ercome;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But 'tis your pleasure, not my pride, that grants it.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nay, pray you, guardian and good sir, put on;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">How ill it shews to have that reverend head</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Uncover'd to a boy!</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Charomonte.</span></span><span style="font-size: 90%"> Your excellence</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Must give me liberty, to observe the distance</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And duty that I owe you.</span><a id="noteref_138" name="noteref_138" href="#note_138"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">138</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Take another instance, from <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Sforza.</span></span><span style="font-size: 90%"> Excuse me, good Pescara.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ere long I will wait on you.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Pescara.</span></span><span style="font-size: 90%"> You speak, sir,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The language I should use.</span><a id="noteref_139" name="noteref_139" href="#note_139"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">139</span></span></a></div> +</div> +</div> + +<span class="tei tei-pb" id="page048">[pg 048]</span><a name="Pg048" id="Pg048" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And this, from The Bashful Lover: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Farnese.</span></span><span style="font-size: 90%"> Madam, I am bold</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To trench so far upon your privacy</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As to desire my friend (let not that wrong him,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For he's a worthy one) may have the honour</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To kiss your hand.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Matilda.</span></span><span style="font-size: 90%"> His own worth challenges</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A greater favour.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Farn.</span></span><span style="font-size: 90%"> Your acknowledgment</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Confirms it, madam.</span><a id="noteref_140" name="noteref_140" href="#note_140"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">140</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I have used the word <span class="tei tei-q">“lucid”</span> of Massinger's style; +perhaps a more appropriate word would be dexterous; not +that he is obscure like Chapman, or like Shakspere in his +later manner, far less turgid, but he is not afraid of somewhat +long sentences. What he is really afraid of, unlike +Fletcher, is a full-stop at the end of the verse. There +are two devices which the reader will notice, often in +combination; in the first place, Massinger is very fond +of the <span class="tei tei-q">“absolute”</span> construction, and loves to multiply +parentheses. The following passages from <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span> +will serve as illustrations: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Furnace.</span></span><span style="font-size: 90%"> She keeps her chamber, dines with a panada,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or water gruel, my sweat never thought on.</span><a id="noteref_141" name="noteref_141" href="#note_141"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">141</span></span></a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Woman.</span></span><span style="font-size: 90%"> And the first command she gave, after she rose,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Was, her devotions done, to give her notice</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When you approach'd here.</span><a id="noteref_142" name="noteref_142" href="#note_142"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">142</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or again, from <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Astraea once more lives upon the earth,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Pulcheria's breast her temple.</span><a id="noteref_143" name="noteref_143" href="#note_143"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">143</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or from <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>: +</p> + +<span class="tei tei-pb" id="page049">[pg 049]</span><a name="Pg049" id="Pg049" class="tei tei-anchor"></a> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 16.20em"><span style="font-size: 90%">And, to those that stay,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A competence of land freely allotted</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To each man's proper use, no lord acknowledged.</span><a id="noteref_144" name="noteref_144" href="#note_144"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">144</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We find the <span class="tei tei-q">“absolute”</span> construction occasionally in +Shakspere, as in <span class="tei tei-hi"><span style="font-style: italic">The Merchant of Venice</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">So are those crisped snaky golden locks</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which make such wanton gambols with the wind,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Upon supposed fairness, often known</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To be the dowry of a second head,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The skull that bred them in the sepulchre.</span><a id="noteref_145" name="noteref_145" href="#note_145"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">145</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or in <span class="tei tei-hi"><span style="font-style: italic">Hamlet</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Folded the writ up in form of the other,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Subscribed it, gav't th' impression, placed it safely,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The changeling never known.</span><a id="noteref_146" name="noteref_146" href="#note_146"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">146</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A passage from <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span> will show an elaborate +use of parenthesis: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 12.60em"><span style="font-size: 90%">What though my father</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Writ man before he was so, and confirm'd it,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By numbering that day no part of his life</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In which he did not service to his country;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Was he to be free therefore from the laws</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And ceremonious form in your decrees?</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or else because he did as much as man,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In those three memorable overthrows,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">At Granson, Morat, Nancy, where his master,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The warlike Charalois, with whose misfortunes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I bear his name, lost treasure, men, and life,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To be excused from payment of those sums</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which (his own patrimony spent) his zeal</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To serve his country forced him to take up!</span><a id="noteref_147" name="noteref_147" href="#note_147"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">147</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Compare also these lines from <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">And if you shew not</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">An appetite, and a strong one, I'll not say</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To eat it, but devour it, without grace too,</span></div> +<span class="tei tei-pb" id="page050">[pg 050]</span><a name="Pg050" id="Pg050" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For it will not stay a preface, I am shamed,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And all my past provocatives will be jeer'd at.</span><a id="noteref_148" name="noteref_148" href="#note_148"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">148</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +From <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Honoria.</span></span><span style="font-size: 90%"> That you please, sir,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With such assurances of love and favour,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To grace your handmaid, but in being yours, sir,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A matchless queen, and one that knows herself so,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Binds me in retribution to deserve</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The grace conferr'd upon me.</span><a id="noteref_149" name="noteref_149" href="#note_149"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">149</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +From <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Paulo.</span></span><span style="font-size: 90%"> This friend was plighted to a beauteous woman,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Nature proud of her workmanship) mutual love</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Possessed them both, her heart in his heart lodged</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And his in hers.</span><a id="noteref_150" name="noteref_150" href="#note_150"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">150</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +From <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Alonzo.</span></span><span style="font-size: 90%"> By me, his nephew,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He does salute you fairly, and entreats</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(A word not suitable to his power and greatness)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You would consent to tender that, which he</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Unwillingly must force, if contradicted.</span><a id="noteref_151" name="noteref_151" href="#note_151"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">151</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +From <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 12.60em"><span style="font-size: 90%">What coy she, then,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Though great in birth, not to be parallel'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For nature's liberal bounties, (both set off</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With fortune's trappings, wealth); but, with delight,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Gladly acknowledged such a man her servant?</span><a id="noteref_152" name="noteref_152" href="#note_152"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">152</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It has been pointed out by Zielinski that <span class="tei tei-q">“the perfection +of language in regard to the formation of periods +depends upon the presence and prevalence of abbreviated +<span class="tei tei-pb" id="page051">[pg 051]</span><a name="Pg051" id="Pg051" class="tei tei-anchor"></a> +by-sentences,”</span><a id="noteref_153" name="noteref_153" href="#note_153"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">153</span></span></a> by which expression he describes <span class="tei tei-q">“absolute”</span> +constructions. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Secondly, he delights in an expedient which the poems +of Robert Browning have made familiar to this generation, +the frequent omission of the relative pronoun.<a id="noteref_154" name="noteref_154" href="#note_154"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">154</span></span></a> And so +his sentences meander with a seemingly negligent grace +to an unexpected conclusion. It is clear that such a +style both requires and repays a careful study of the +rhetorical art. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I give as an instance of this combination the words of +Paulinus in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>. He is talking of the +Emperor's sister and Prime Minister Pulcheria: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">She indeed is</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A perfect phœnix, and disdains a rival.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her infant years, as you know, promised much,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But grown to ripeness she transcends, and makes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Credulity her debtor. I will tell you</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In my blunt way, to entertain the time</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Until you have the happiness to see her,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">How in your absence she hath borne herself,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And with all possible brevity; though the subject</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Is such a spacious field, as would require</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">An abstract of the purest eloquence</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Deriv'd from the most famous orators</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The nurse of learning, Athens, shew'd the world)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In that man that should undertake to be</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her true historian.</span><a id="noteref_155" name="noteref_155" href="#note_155"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">155</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The style of Massinger is not only lucid and dexterous; +it is strong, partly because of its ease, and more mature +and modern than that of many of his contemporaries. +Milton's prose would have gained much in directness if he +<span class="tei tei-pb" id="page052">[pg 052]</span><a name="Pg052" id="Pg052" class="tei tei-anchor"></a> +had studied Massinger. This strength does not show +itself so much in isolated fine lines, for, as we have already +seen, epigram was foreign to his nature, though from time +to time we get such lines, as, for example, in <span class="tei tei-hi"><span style="font-style: italic">The Duke of +Milan</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">One smile of hers would make a savage tame;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">One accent of that tongue would calm the seas,</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Though all the winds at once strove there for empire</span></span><span style="font-size: 90%">.</span><a id="noteref_156" name="noteref_156" href="#note_156"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">156</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or, again, in the same play: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">How coldly you receive it! I expected</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The mere relation of so great a blessing,</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Borne proudly on the wings of sweet revenge</span></span><span style="font-size: 90%">,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Would have call'd on a sacrifice of thanks.</span><a id="noteref_157" name="noteref_157" href="#note_157"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">157</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or, again, in <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Overreach.</span></span><span style="font-size: 90%"> The garments of her widowhood laid by,</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">She now appears as glorious as the spring</span></span><span style="font-size: 90%">.</span><a id="noteref_158" name="noteref_158" href="#note_158"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">158</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or in <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">Could I imp feathers to the wings of time,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or with as little ease command the sun</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">To scourge his coursers up heaven's eastern hill</span></span><span style="font-size: 90%">.</span><a id="noteref_159" name="noteref_159" href="#note_159"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">159</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We may remark in passing that Massinger's best single +lines are usually decasyllabic. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It has been remarked by Mr. Swinburne, whose discerning +judgment of the Jacobean dramatists has lavished +just praise on Massinger's art and style, that in the second +act of <span class="tei tei-hi"><span style="font-style: italic">Sir John Van Olden Barnavelt</span></span>, <span class="tei tei-q">“the student will +say, <span class="tei tei-q">‘This tune goes manly,’</span> ”</span> and it is remarkable that +our poet had formed in 1619 the style which marked him +to the end of his life.<a id="noteref_160" name="noteref_160" href="#note_160"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">160</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +An instance of this simple strength may be given from +<span class="tei tei-pb" id="page053">[pg 053]</span><a name="Pg053" id="Pg053" class="tei tei-anchor"></a> +<span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>, where Luke debates whether he shall +agree to the proposition of the pretended Indians: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Luke.</span></span><span style="font-size: 90%"> Give me leave—(</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">walks aside</span></span><span style="font-size: 90%">)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I would not lose this purchase. A grave matron!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And two pure virgins! Umph, I think my sister,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Though proud, was ever honest, and my nieces</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Untainted yet. Why should not they be shipp'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For this employment? They are burthensome to me,</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">And eat too much</span></span><span style="font-size: 90%">.</span><a id="noteref_161" name="noteref_161" href="#note_161"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">161</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +When rudeness is necessary it is uttered with some +vigour, as in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>, where this is what Romont +gets for his well-meant pains: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Rochfort.</span></span><span style="font-size: 90%"> Sir, if you please</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To bear yourself as fits a gentleman,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The house is at your service; but if not,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Though you seek company elsewhere, your absence</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Will not be much lamented.</span><a id="noteref_162" name="noteref_162" href="#note_162"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">162</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The rejected lover in such a scene as the following has no +illusions left him: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Mustapha.</span></span><span style="font-size: 90%"> All happiness—</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Donusa.</span></span><span style="font-size: 90%"> Be sudden.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">'Twas saucy rudeness in you, sir, to press</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">On my retirements; but ridiculous folly</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To waste the time that might be better spent,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In complimental wishes.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Corisca.</span></span><span style="font-size: 90%"> There's a cooling</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For his hot encounter! (</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">aside</span></span><span style="font-size: 90%">)</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Donusa.</span></span><span style="font-size: 90%"> Come you here to stare?</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If you have lost your tongue and use of speech,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Resign your government; there's a mute's place void</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In my uncle's court, I hear; and you may want me</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To write for your preferment.</span><a id="noteref_163" name="noteref_163" href="#note_163"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">163</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Two minor features of Massinger's style may be mentioned +here: +</p> + +<span class="tei tei-pb" id="page054">[pg 054]</span><a name="Pg054" id="Pg054" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +1. The catalogue line, so familiar to the student of +Lucretius—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Believe as You List</span></span><span style="font-size: 90%">, I., 2, 85. The sapphire, ruby, jacinth,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">amber, coral.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Believe as You List</span></span><span style="font-size: 90%"> II, 2, 312. All circumstances,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Answers, despatches, doubts, and difficulties.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Picture</span></span><span style="font-size: 90%">, V., I, 59. The comfortable names of breakfasts,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">dinners,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Collations, supper, beverage.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Emperor of East</span></span><span style="font-size: 90%">, 2 Prol., 8. With his best of fancy, judgment,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">language, art.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 2, 194. To his merchant, mercer, draper,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His linen-man, and tailor.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">V., 2, 88. As sacred, glorious, high, invincible.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">City Madam</span></span><span style="font-size: 90%">, II., 1, 72. Tissue, gold, silver, velvets, satins,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">taffetas.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 3, 69. Entreaties, curses, prayers, or imprecations.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Unnatural Combat</span></span><span style="font-size: 90%">, II., 1, 128. All respect,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Love, fear, and reverence cast</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">off.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">Great Duke of Florence</span></span><span style="font-size: 90%">, II., 1, 7. We of necessity must be</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">chaste, wise, fair.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +2. A more marked feature is the repetition of words or +short phrases in various parts of the line.<a id="noteref_164" name="noteref_164" href="#note_164"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">164</span></span></a> The following +instances may be given from (<span class="tei tei-hi"><span style="font-style: italic">a</span></span>) <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of +Florence</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 1, 154. It is the duke!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The duke.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 2, 41. Our duchess; such a duchess.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 2, 95. See, signiors, see our care.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 2, 131. Take up, take up.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">II., 1, 71. Fie! fie! the princess.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 1, 102. Tells</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His son, this is the prince, the hopeful prince.</span></div> +</div> + +<span class="tei tei-pb" id="page055">[pg 055]</span><a name="Pg055" id="Pg055" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(</span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">b</span></span><span style="font-size: 90%">) </span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The City Madam</span></span><span style="font-size: 90%">: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">II., 1, 58. I blush for you,</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">Blush at your poverty of spirit.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 1, 11. I am starv'd,</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">Starv'd in my pleasures.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">V., 1, 12. Far, far above your hopes.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">V., 1, 81. The height</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">Of honour, principal honour.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">V., 2, 67. A manor pawn'd,</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">Pawn'd, my good lord.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And, thirdly, the versification of Massinger is musical +and melodious. Boyle says that Milton's blank verse +owes much to the study of it. <span class="tei tei-q">“In the indefinable +touches which make up the music of a verse, in the artistic +distribution of pauses, and in the unerring choice and +grouping of just those words which strike the ear as the +perfection of harmony, there are, if we leave Cyril Tourneur's +<span class="tei tei-hi"><span style="font-style: italic">Atheist's Tragedy</span></span> out of the question, only two +masters in the drama, Shakspere in his latest period and +Massinger.”</span><a id="noteref_165" name="noteref_165" href="#note_165"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">165</span></span></a> Coleridge says that it is <span class="tei tei-q">“an excellent +metre, a better model for dramatists in general to imitate +than Shakspere's. Read Massinger aright, and measure +by time, not syllables, and no lines can be more legitimate, +none in which the substitution of equipollent feet, and +the modifications by emphasis, are managed with such +exquisite judgment.”</span><a id="noteref_166" name="noteref_166" href="#note_166"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">166</span></span></a> Be it noted that this praise +comes from a master of his art, for no one who has once +appreciated Coleridge's command of vowel-syzygy and +the velvet-like texture of his blank verse can refuse him +that title. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger's blank verse is equal to all the emotions +which the author can express and kindle. It never fails +him, nor, on the other hand, does it obtrude itself unduly +on the sense conveyed. Only after reading a considerable +passage of our poet do we understand how much the +<span class="tei tei-pb" id="page056">[pg 056]</span><a name="Pg056" id="Pg056" class="tei tei-anchor"></a> +versification contributes to his lifelike and dignified +atmosphere. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Moreover, the metre of Massinger is admirably suited +to his style. There seems a hidden but real harmony +between them. Some might call his metre at times +slipshod and undignified, from the fact that, except in +elevated passages, the characters speak in rhythmical +sentences which approximate to prose. Boyle, who +declares that <span class="tei tei-q">“Marlowe and Massinger are the two extremes +of the metrical movement in the dramatists,”</span><a id="noteref_167" name="noteref_167" href="#note_167"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">167</span></span></a> has +pointed out that <span class="tei tei-q">“Massinger's blank verse shows a larger +proportion of run-on lines and double endings in harmonious +union than any of his contemporaries.<a id="noteref_168" name="noteref_168" href="#note_168"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">168</span></span></a> Cartwright +<span class="tei tei-pb" id="page057">[pg 057]</span><a name="Pg057" id="Pg057" class="tei tei-anchor"></a> +and Tourneur have more run-on lines, but not so +many double endings. Fletcher has more double endings, +but very few run-on lines. Shakspere and Beaumont +alone exhibit a somewhat similar metrical style.”</span><a id="noteref_169" name="noteref_169" href="#note_169"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">169</span></span></a> This +is interesting, because we shall see later on that Massinger +was a devoted admirer and imitator of Shakspere in +thought, device, and expression. It is not strange, therefore, +that he should also copy his metre, or rather, develop +his own on the same lines. To show how flexible and +dexterous the metre of Massinger is, I will give two instances +from <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>. In the first Uberti +encourages Gonzaga to persevere with the contest: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Uberti.</span></span><span style="font-size: 90%"> Sir, these tears</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Do well become a father, and my eyes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Would keep you company as a forlorn lover,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But that the burning fire of my revenge</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Dries up those drops of sorrow. We, once more,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our broken forces rallied up, and with</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Full numbers strengthen'd, stand prepared t' endure</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A second trial; nor let it dismay us</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That we are once again t' affront the fury</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of a victorious army; their abuse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of conquest hath disarm'd them, and call'd down</span></div> +<span class="tei tei-pb" id="page058">[pg 058]</span><a name="Pg058" id="Pg058" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The Powers above to aid us. I have read</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Some piece of story, yet ne'er found but that</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The general, that gave way to cruelty,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The profanation of things sacred, rapes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of virgins, butchery of infants, and</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The massacre in cold blood of reverend age,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Against the discipline and law of arms,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Did feel the hand of heaven lie heavy on him</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When most secure.</span><a id="noteref_170" name="noteref_170" href="#note_170"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">170</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In the second Gonzaga refuses the hand of his daughter +Matilda to Lorenzo: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Gonzaga.</span></span><span style="font-size: 90%"> Two main reasons</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Seconding those you have already heard)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Give us encouragement; the duty that</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I owe my mother country, and the love</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Descending to my daughter. For the first,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Should I betray her liberty, I deserv'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To have my name with infamy razed from</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The catalogue of good princes; and I should</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Unnaturally forget I am a father,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If, like a Tartar, or for fear or profit,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I should consign her, as a bondwoman,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To be disposed of at another's pleasure;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her own consent or favour never sued for,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And mine by force exacted. No, Alonzo,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">She is my only child, my heir; and if</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A father's eyes deceive me not, the hand</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of prodigal nature hath given so much to her,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As, in the former ages, kings would rise up</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In her defence and make her cause their quarrel;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nor can she, if that any spark remain</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To kindle a desire to be possess'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of such a beauty, in our time, want swords</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To guard it safe from violence.</span><a id="noteref_171" name="noteref_171" href="#note_171"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">171</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Anyone who compares the metre of Massinger with that +of Fletcher will find that our author observes far stricter +<span class="tei tei-pb" id="page059">[pg 059]</span><a name="Pg059" id="Pg059" class="tei tei-anchor"></a> +laws than his friend. The plays of Massinger abound in +lines divided between two speakers, or even three, which, +nevertheless, observe the strict rule of the metre.<a id="noteref_172" name="noteref_172" href="#note_172"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">172</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The way in which Massinger's style and metre suit one +another can best be illustrated by a passage or two from +<span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>; the first is where Bellisant speaks +about the decay of chivalry. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Bellisant.</span></span><span style="font-size: 90%"> Ere they durst</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Presume to offer service to a lady,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In person they perform'd some gallant acts</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The fame of which prepar'd them gracious hearing,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ere they made their approaches; what coy she, then,</span><a id="noteref_173" name="noteref_173" href="#note_173"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">173</span></span></a></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Though great in birth, not to be parallel'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For nature's liberal beauties (both set off</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With fortune's trappings, wealth); but with delight,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Gladly acknowledg'd such a man her servant,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To whose heroic courage and deep wisdom,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The flourishing commonwealth, and thankful king,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Confess'd themselves for debtors? Whereas, now,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If you have travelled Italy, and brought home</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Some remnants of the language, and can set</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your faces in some strange and ne'er-seen posture,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Dance a la volta, and be rude and saucy,</span></div> +<span class="tei tei-pb" id="page060">[pg 060]</span><a name="Pg060" id="Pg060" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Protest and swear and damn (for these are acts</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That most think grace them), and then view yourselves</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In the deceiving mirror of self-love,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You do conclude there hardly is a woman</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That can be worthy of you.</span><a id="noteref_174" name="noteref_174" href="#note_174"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">174</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The second is a speech of Leonora exposing Cleremond's +baseness: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">I, burning then with a most virtuous anger,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Razed from my heart the memory of his name,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Railed and spit at him; and knew 'twas justice</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That I should take those deities he scorn'd,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Hymen and Cupid, into my protection,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And be the instrument of their revenge;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And so I cast him off, scorn'd his submission,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His poor and childish winnings, will'd my servants</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To shut my gates against him; but, when neither</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Disdain, hate, or contempt could free me from</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His loathsome importunities, and fired too</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To wreak mine injur'd honour, I took gladly</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Advantage of his execrable oaths,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To undergo what penance I enjoin'd him;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Then, to the terror of all future ribalds,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That make no difference between love and lust,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Imposed this task upon him. I have said, too;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Now, when you please, a censure.</span><a id="noteref_175" name="noteref_175" href="#note_175"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">175</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The critics may differ in their estimate of Massinger's +style and metre; but it is simple truth to say that they +are unique in our literature, in their correctness, dignity, +ease, and classical frugality. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let us now turn to the poet's faults. It is said that +his range of thought is limited, and this may be at once +conceded. It might also be said that Greek tragedy is +limited, and the statement is true of all our Elizabethan +playwrights; yet we return to them again and again, for +they have something to give us which we cannot do without. +It is idle to depreciate one period of our literature +<span class="tei tei-pb" id="page061">[pg 061]</span><a name="Pg061" id="Pg061" class="tei tei-anchor"></a> +at the expense of another. Are not the old madrigal +writers limited, and Farrant and Byrd, Orlando Gibbons +and Blow? and yet we enjoy them; nay, to take even +Purcell himself, when we confess that the pleasure he +gives us is due to the fact that he is more daring, less +shackled than his generation, <span class="tei tei-q">“so modern”</span> as we say, +are we not in the end forced to confess that he too is +unmistakably limited, <span class="tei tei-q">“bewrayed”</span> by his quaint and +stately rhythms to be one of the seventeenth century? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Our age has a wider and subtler range of psychology; +to revert from <span class="tei tei-q">“The Georgian Poets”</span> of 1911 to Massinger +is like going back from the films of a cinema palace +to a tondo of Luca Signorelli. Both films and tondo have +their uses. We may take a single illustration of this +point from <span class="tei tei-hi"><span style="font-style: italic">The Brothers Karamazov</span></span>. The great Russian +novelist, among other problems, deals in that book with +the case of the young man who is in love with two women +at once. That is the sort of complicated interest which +we do not expect our Elizabethan writers to cope with, +in as great detail as a modern writer uses. The problem +occurs in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, where the heroine, Cleora, is distracted +between her plighted love to Leosthenes and her +warm sense of obligation to Marullo;<a id="noteref_176" name="noteref_176" href="#note_176"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">176</span></span></a> it is interesting and +instructive to see how simply the whole thing is touched +upon, and how soon the doubt is solved by the discovery +of Leosthenes' former intrigue with Statilia. May we +not say, with Aristophanes, in comparing Massinger and +Dostoevsky: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Τὸν μὲν γὰρ ἡγοῦμαι σοφόν, τῷ δ ἥδομαι.</span><a id="noteref_177" name="noteref_177" href="#note_177"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">177</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Then it is said that Massinger's work is not free from +coarseness. The answer to this accusation may be made +in more ways than one. I might with confidence reply +to such critics: If you wish for real vulgarity of diction, +<span class="tei tei-pb" id="page062">[pg 062]</span><a name="Pg062" id="Pg062" class="tei tei-anchor"></a> +read Marston; if you wish for real vulgarity of mind, read +Middleton; if you wish for poisoned morals, read Ford and +Tourneur; and then revise your judgment of Massinger. +It is notorious that all the stage writers of the Elizabethan +age are tarred with the same brush; there is much in +Shakspere himself that we wish he had not written; still +more is this true of Ben Jonson. In <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, +where we have the odious servants, Hircius and Spungius, +it is generally believed that the parts of the play in which +they appear are due to Dekker, not to Massinger, whose +other works present nothing so disgusting. There are, at +any rate, no lapses of taste in Massinger like those which +we find in Fletcher; nothing like the fate of Rutilio in +<span class="tei tei-hi"><span style="font-style: italic">The Custom of the Country</span></span>, or of Merione in <span class="tei tei-hi"><span style="font-style: italic">The Queen of +Corinth</span></span>, or of the Father in <span class="tei tei-hi"><span style="font-style: italic">The Captain</span></span>. It must be +confessed that Massinger's conception of love is apt to +be earthly, physical, sensuous; there is but little in his +plays about the marriage of true minds,<a id="noteref_178" name="noteref_178" href="#note_178"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">178</span></span></a> too much about +<span class="tei tei-q">“Hymen's taper”</span> and <span class="tei tei-q">“virgin forts.”</span> Captivated by +the charms of female beauty, his intellect is too concrete +in its ideals to rise above mere morality to the mysteries +of the diviner love. So far it must be allowed that his +art interests and stimulates the passions of his audience +without elevating them. But if at times we feel a monotonous +limitation in his outlook in these matters, if we +miss the healthy breezes of bracing commonsense and +cheerful self-restraint, we are never pained by the triumph +of what is low, corrupt, or morbid. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +When it is said that his women are impure it is necessary +to enter a clear protest.<a id="noteref_179" name="noteref_179" href="#note_179"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">179</span></span></a> There are offensive and +<span class="tei tei-pb" id="page063">[pg 063]</span><a name="Pg063" id="Pg063" class="tei tei-anchor"></a> +heartless women in Massinger, such as Domitia in <span class="tei tei-hi"><span style="font-style: italic">The +Roman Actor</span></span>, and Beaumelle in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>;<a id="noteref_180" name="noteref_180" href="#note_180"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">180</span></span></a> +there are odious old women, like Borachia and Corisca. +There are pert and vulgar ladies' maids; but you have only +to read <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The +Emperor of the East</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, to see that his world +includes some charming female characters—not, indeed, +so lovely as those of Shakspere, but still, types which show +that he had not lost his faith in human nature, as, when +we read Fielding, we feel regretfully almost obliged to +allow, in spite of Sophia Western and Amelia, is the case +with our great novelist. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is true that there are ladies in Massinger's plays who +offer their hands in marriage to the men they love, and +very charmingly the thing is done, though there is nothing +equal to the scene between the Duchess and Antonio +in Webster's masterpiece; as, for example, Artemia in +<span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, the Duchess of Urbin in <span class="tei tei-hi"><span style="font-style: italic">The Great +Duke</span></span>, Calista in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>.<a id="noteref_181" name="noteref_181" href="#note_181"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">181</span></span></a> This feature is not confined +to Massinger among the writers of his age; to mention +no other instances, what about Arethusa in <span class="tei tei-hi"><span style="font-style: italic">Philaster</span></span>, +Bianca in <span class="tei tei-hi"><span style="font-style: italic">The Fair Maid of the Inn</span></span>, Beliza and the Queen +in <span class="tei tei-hi"><span style="font-style: italic">The Queen of Corinth</span></span>,<a id="noteref_182" name="noteref_182" href="#note_182"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">182</span></span></a> Frank in <span class="tei tei-hi"><span style="font-style: italic">The Captain</span></span>, Clara in +<span class="tei tei-hi"><span style="font-style: italic">Love's Cure</span></span> (IV., 2), Martia in <span class="tei tei-hi"><span style="font-style: italic">The Double Marriage</span></span> +(II., 3), Lamira in <span class="tei tei-hi"><span style="font-style: italic">The Honest Man's Fortune</span></span> (V., 3), Erota +in <span class="tei tei-hi"><span style="font-style: italic">The Laws of Candy</span></span>? Or, what about Desdemona in +<span class="tei tei-hi"><span style="font-style: italic">Othello</span></span>,<a id="noteref_183" name="noteref_183" href="#note_183"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">183</span></span></a> or Olivia in <span class="tei tei-hi"><span style="font-style: italic">Twelfth Night</span></span>?<a id="noteref_184" name="noteref_184" href="#note_184"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">184</span></span></a> What about the +<span class="tei tei-pb" id="page064">[pg 064]</span><a name="Pg064" id="Pg064" class="tei tei-anchor"></a> +plot of <span class="tei tei-hi"><span style="font-style: italic">All's Well that Ends Well</span></span>? To the vulgar mind +all things are vulgar. <span class="tei tei-foreign"><span style="font-style: italic">Honi soit qui mal y pense.</span></span><a id="noteref_185" name="noteref_185" href="#note_185"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">185</span></span></a> It may +certainly be conceded that in some of Massinger's plays, +as, for instance, <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Believe as You +List</span></span>, the feminine interest is comparatively slight. +Brander Matthews tells us that Massinger's women <span class="tei tei-q">“are +all painted from the outside only”</span>;<a id="noteref_186" name="noteref_186" href="#note_186"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">186</span></span></a> <span class="tei tei-q">“they are not convincing; +they lack essential womanliness.”</span> This may be +due to the fault which the same critic points out in our +author, that <span class="tei tei-q">“he is heavy-handed and coarse-fibred +ethically as well as æsthetically.”</span> One may reply that if +the theatre be the mirror of life Massinger had an undoubted +right to bring bad women on the stage; there are +good and noble women also among his characters, and if +they are not <span class="tei tei-q">“convincing,”</span> perhaps we may quote +Coleridge's remark about Shakspere, that <span class="tei tei-q">“he saw it +was the perfection of women to be characterless.”</span> However +far our author may fall short of his great model in +grace, charm, and delicacy, he at any rate deserves +credit for having imagined female characters who are full +of passions and made of <span class="tei tei-q">“flesh and blood.”</span><a id="noteref_187" name="noteref_187" href="#note_187"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">187</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger resembles other dramatists of his age; at +times we feel that they talk like the little boys on the +links in Stevenson's <span class="tei tei-hi"><span style="font-style: italic">Lantern-Bearers</span></span>. But Massinger is a +robuster mind than Fletcher, for example; if he brings +vice upon the stage, and if he speaks too freely about +things which we prefer not to have mentioned, if <span class="tei tei-q">“like +Hogarth, he enjoys his own portrayal of degrading vice +and its appalling consequences,”</span><a id="noteref_188" name="noteref_188" href="#note_188"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">188</span></span></a> we must, to do him +<span class="tei tei-pb" id="page065">[pg 065]</span><a name="Pg065" id="Pg065" class="tei tei-anchor"></a> +justice, take his work as a whole. Indeed, most of the +critics have singled out as one of his special claims to +praise his sturdy morality,<a id="noteref_189" name="noteref_189" href="#note_189"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">189</span></span></a> and the general effect on any +fair mind of a perusal of his plays is a conviction that he +loved virtue. Vitelli<a id="noteref_190" name="noteref_190" href="#note_190"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">190</span></span></a> may make the best of both worlds, +but he converts Donusa, and faces death and torture with +fortitude. Goodness emerges from Massinger's plays, +sometimes compromised for the moment, but always +triumphant in the end. There is considerable outspokenness, +but not much lubricity, and no perverted morality. +Passages which offend can nearly always, as in Shakspere, +be omitted without damaging the course of the plot. +Moreover, as has often been pointed out, the works of +Massinger are almost wholly free from blasphemy and +profanity, and attacks on the clergy, such as moved the +wrath of Jeremy Collier in later times. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It may be a fanciful suggestion, but it is possible that +the drama of that day suffered from the fact that boys +took the female parts.<a id="noteref_191" name="noteref_191" href="#note_191"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">191</span></span></a> No one would deny the artistic +<span class="tei tei-pb" id="page066">[pg 066]</span><a name="Pg066" id="Pg066" class="tei tei-anchor"></a> +loss thereby involved, but there was a moral loss as well. +It made it possible for things to be said that would not +have been said by men to women, still less by women to +men. It unconsciously invested the love-scenes with an +air of unreality and grossness. It prevented the relation +of the sexes from being depicted with that union of passion +and purity which, though difficult, is possible. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It has been said that Massinger is hard and metallic, +and devoid of pathos. This charge, again, is largely true. +You will not find in him scenes which clutch the heart +like those of <span class="tei tei-hi"><span style="font-style: italic">Dr. Faustus</span></span>, or <span class="tei tei-hi"><span style="font-style: italic">The Duchess of Malfi</span></span>, or <span class="tei tei-hi"><span style="font-style: italic">The +Broken Heart</span></span>, or <span class="tei tei-hi"><span style="font-style: italic">The Maid's Tragedy</span></span>, or <span class="tei tei-hi"><span style="font-style: italic">The Wife for a +Month</span></span>; you will not find the sublimity of Ordella's self-sacrifice +in <span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret</span></span>, or the chivalry of <span class="tei tei-hi"><span style="font-style: italic">A +Fair Quarrel</span></span>; still less will you find anything so appalling +as the end of <span class="tei tei-hi"><span style="font-style: italic">King Lear</span></span>, or <span class="tei tei-hi"><span style="font-style: italic">Othello</span></span>, or <span class="tei tei-hi"><span style="font-style: italic">Romeo and Juliet</span></span>. +There is plenty of passion in Massinger; like the legendary +lion, he lashes with his tail, and you can almost see him in +the act; but his rhetoric does not entirely carry you away. +Let me recall the fine passage which was quoted just now +from <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>.<a id="noteref_192" name="noteref_192" href="#note_192"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">192</span></span></a> I hope everyone will allow +its eloquence; but the repetition of the commonplace +phrase, <span class="tei tei-q">“we cannot help it,”</span><a id="noteref_193" name="noteref_193" href="#note_193"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">193</span></span></a> natural and forcible as it +is, falls short of the ideal grandeur at which the passage +aims. We feel that Fletcher could have made a finer +thing of the prison-scene in The <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>. +</p> + +<span class="tei tei-pb" id="page067">[pg 067]</span><a name="Pg067" id="Pg067" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is significant that the most tender passage in Massinger,<a id="noteref_194" name="noteref_194" href="#note_194"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">194</span></span></a> +where Leonora bids Almira take consolation, has been +assigned by some to Fletcher. In other words, Massinger +is not in the front rank of genius, but no one would claim +for him such a place. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Again, one might urge that his plays are not stores of +worldly wisdom, like Shakspere's; his aphorisms are not +deep; they do not bite.<a id="noteref_195" name="noteref_195" href="#note_195"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">195</span></span></a> Consequently he does not lend +<span class="tei tei-pb" id="page068">[pg 068]</span><a name="Pg068" id="Pg068" class="tei tei-anchor"></a> +himself to quotation. Yet this does not of necessity detract +from his greatness. No one would question the +excellence of the <span class="tei tei-hi"><span style="font-style: italic">Waverley Novels</span></span>, but Leslie Stephen has +pointed out that we only make one quotation from Scott's +novels.<a id="noteref_196" name="noteref_196" href="#note_196"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">196</span></span></a> Aristotle has told us that <span class="tei tei-q">“excessive brilliance +of diction obscures characters and sentiments.”</span><a id="noteref_197" name="noteref_197" href="#note_197"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">197</span></span></a> There +<span class="tei tei-pb" id="page069">[pg 069]</span><a name="Pg069" id="Pg069" class="tei tei-anchor"></a> +are few passages of high poetical emotion in Massinger; +there is little magic in the rhythm of individual lines. +Like most of his contemporaries he shows at times a +strange insensibility to smooth rhythm in the heroic +couplet. He has an anapæstic lilt in various parts of the +line, inherited from Shakspere, and found in Milton's +early poems, which is not ineffective in its way, and which +seems to have aimed at varying the monotony of the ten-syllable +line.<a id="noteref_198" name="noteref_198" href="#note_198"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">198</span></span></a> He has not much power of rhyme,<a id="noteref_199" name="noteref_199" href="#note_199"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">199</span></span></a> nor +are his plays studded with such lyrics as Shakspere and +Fletcher could write upon occasion.<a id="noteref_200" name="noteref_200" href="#note_200"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">200</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Again, the comic element in Massinger is at times dull, +forced, and ordinary; it does not take us very far to label +a foolish Florentine gentleman with the name of <span class="tei tei-q">“Sylli”</span>;<a id="noteref_201" name="noteref_201" href="#note_201"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">201</span></span></a> +the hungry soldier is rather a time-worn type,<a id="noteref_202" name="noteref_202" href="#note_202"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">202</span></span></a> nor +<span class="tei tei-pb" id="page070">[pg 070]</span><a name="Pg070" id="Pg070" class="tei tei-anchor"></a> +can Greedy compare with Lazarillo. Though the situations +are humorous, we do not split with laughter over +Massinger, as we do in reading Aristophanes, or Shakspere, +or Molière.<a id="noteref_203" name="noteref_203" href="#note_203"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">203</span></span></a> We do not find in him the mercurial +lightness of <span class="tei tei-hi"><span style="font-style: italic">A Trick to Catch the Old One</span></span>, or the invincible +absurdity of <span class="tei tei-q">“The Roarers”</span> in <span class="tei tei-hi"><span style="font-style: italic">The Fair Quarrel</span></span>. But it +is necessary to remember that the comic business is of +the kind which gains by acting, or indeed requires it, +and to allow that towards the end of his life Massinger +came forward as a grave and powerful satirist of contemporary +men, reminding us of Ben Jonson, but, to my +mind, excelling him; for he shows less asperity with +greater lucidity and ease.<a id="noteref_204" name="noteref_204" href="#note_204"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">204</span></span></a> He is not unduly morose or +bitter, yet he wins conviction with an admirable sanity +and sobriety. The plays will repay good acting, and, after +all, plays are meant to be acted; it is significant that the +last of Massinger's plays to hold the stage was his comedy, +<span class="tei tei-hi"><span style="font-style: italic">The New Way to pay Old Debts</span></span>, and it is very much to be +wished that it should be revived in England.<a id="noteref_205" name="noteref_205" href="#note_205"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">205</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Some critics have accused Massinger of redundancy in +style, a characteristic which clearly will strike different +people in different ways. Thus, Hallam regards this +feature as on the whole meritorious, giving <span class="tei tei-q">“fulness, or +what the painters would call impasto, to his style, and if +it might not always conduce to effect on the stage, suitable +on the whole to the character of his composition.”</span> Mr. +Bullen,<a id="noteref_206" name="noteref_206" href="#note_206"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">206</span></span></a> after an eloquent tribute to <span class="tei tei-q">“Massinger's admirable +ease and dignity,”</span> and to <span class="tei tei-q">“his rare command of an +excellent work-a-day dramatic style, clear, vigorous, and +<span class="tei tei-pb" id="page071">[pg 071]</span><a name="Pg071" id="Pg071" class="tei tei-anchor"></a> +free from conceit and affectation,”</span> proceeds to allow that +<span class="tei tei-q">“he is apt to grow didactic and tax the reader's patience; +and there is often a want of coherence in his sentences, +which amble down the page in a series of loosely linked +clauses.”</span> I do not myself feel that this charge comes +to very much. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The real fault of Massinger lies in an imperfect presentation +of character. This point has been felt by many +writers, and put in various ways. Coleridge bluntly says: +<span class="tei tei-q">“Massinger's characters have no character.”</span><a id="noteref_207" name="noteref_207" href="#note_207"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">207</span></span></a> Brander +Matthews puts it in another way when he observes that +<span class="tei tei-q">“the plots are not the result of the characters, but the work +of the playwright,”</span><a id="noteref_208" name="noteref_208" href="#note_208"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">208</span></span></a> a criticism we may remark in passing +eminently applicable to Fletcher. It has been said that the +characters are conventional, like those in the Italian or +Spanish sources from which they are derived; the violent +tyrant and the arrogant queen are the most familiar of +these types. I do not think this statement arrives at the +root of the matter. Characters may be conventional and +yet interesting and lifelike. A great many of the personages +in Massinger's plays, important and unimportant +alike, act reasonably; he takes great pains to discriminate +them, and the effect is successful and consistent. Let us +recall the great characters in Massinger; they are Paris, +Luke, Sir Giles Overreach, Durazzo, Marullo, Malefort, +Charalois, Antiochus, Camiola, Dorothea, Donusa, Almira. +In the second rank we may put Timoleon, Romont, Bertoldo, +John Antonio, Mathias, Wellborn, Athenais, Marcelia, +Sophia, Cleora. Of these persons, the two that I +think most men would like to have known best are Paris +and Camiola. Notice, by the way, that there is seldom +more than one great character in a play. Now, in +<span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> there are three, the King, Catherine, and +Wolsey. The question arises whether Massinger, even +with Fletcher's help, could have worked on this scale. If +<span class="tei tei-pb" id="page072">[pg 072]</span><a name="Pg072" id="Pg072" class="tei tei-anchor"></a> +Massinger wrote <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> it is certainly, with all its +faults, his most remarkable achievement. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The point which I wish to emphasize is that there are +many characters in Massinger drawn with care and ability. +Think, for example, of the skilful contrast between +Pulcheria and Athenais in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, +showing how easy it is for two good women to quarrel. +Further, it is clear that the attempt to produce composite +and developing characters is praiseworthy, even if it be +not always successful, because it is more true to life than +Ben Jonson's brilliant but illusory delineation of +<span class="tei tei-q">“humours.”</span> Human beings are too complex to be +labelled in this slapdash way, however amusing it may +be on the stage. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And yet we must allow that a certain number of the +more important characters act outrageously; the explanation +being that the faults which Massinger loves to portray +and censure are such as show themselves in outrageous +ways—such as anger, pride, impotence in the Latin sense, +uxoriousness, and above all jealousy.<a id="noteref_209" name="noteref_209" href="#note_209"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">209</span></span></a> Take the case +of Theophilus in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, who kills his daughters +because they have been reconverted to Christianity; or of +Domitian in <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>, who goes through life +killing people as he would kill flies. It is not enough to +say that there are such people in the world; the point is, +that in Massinger they shock us without appalling us. +Sforza behaves to Marcelia much as Othello behaves to +Desdemona; we feel at once a difference of power in the +two plays.<a id="noteref_210" name="noteref_210" href="#note_210"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">210</span></span></a> Massinger has many villains, but Shakspere +manages better with Richard III and Iago. Think again +of the uxoriousness of Ladislas, Theodosius, Domitian, +which some have held to be a covert satire on Charles I. +We despise these weak and servile husbands. +</p> + +<span class="tei tei-pb" id="page073">[pg 073]</span><a name="Pg073" id="Pg073" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Now, is there anything we can urge in Massinger's +justification? I think there is. We read his plays nowadays, +we do not see them acted. We are therefore apt +to forget how impressive and vigorous good acting is. +The display of passion on the stage with gesture, attitude, +frown, and scorn, would render more tolerable some of +these scenes which offend us in the study by their crudeness. +Such a part, for instance, as Leosthenes in <span class="tei tei-hi"><span style="font-style: italic">The +Bondman</span></span>, the jealous and yet guilty lover, has great +opportunities for the actor. It might even be urged that +Massinger wrote thus because he knew the capabilities +of the actors who were going to perform his plays. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The same consideration applies to a feature in Massinger +which will strike every reader. He sets himself +at times to represent growth, or, at any rate, change, of +character. Even Shakspere seldom tries to do this,<a id="noteref_211" name="noteref_211" href="#note_211"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">211</span></span></a> +and it was too hard a task for his pupil. His most +ambitious venture in this direction is in <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>. +In that play Mathias has a magic portrait, which shows +him whether his wife is faithful to him or not in his absence; +and the alternations of the mind in husband and wife +alike are drawn with considerable power. Luke in <span class="tei tei-hi"><span style="font-style: italic">The +City Madam</span></span> is perhaps the most skilfully drawn example +of a development of character. The hypocrite is quite +carried away by the riches to which he unexpectedly +succeeds.<a id="noteref_212" name="noteref_212" href="#note_212"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">212</span></span></a> Another successful conversion is that of +Theophilus at the end of <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>. It is due +partly to his eating the heavenly fruit, for which he had +asked Dorothea at her death, partly to the effect which the +<span class="tei tei-pb" id="page074">[pg 074]</span><a name="Pg074" id="Pg074" class="tei tei-anchor"></a> +grace and beauty of Angelo produce on his mind. The +gradual growth of his new belief, in spite of all that +Harpax can do, is managed with much skill, and it is in +itself true to nature that the man who had been violent +in one direction should ultimately be violent in another. +Moreover, we are bound to remember that when people +are soon persuaded, the play gets on. Indeed, I think +we have in this consideration the clue to the whole matter; +<span class="tei tei-q">“the Stage Poet”</span> had a practical mind. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Change of mood and vacillation of purpose, under the +stress of temptation, or due to the conflict of contrary +impulses, are features of some of Massinger's best scenes. +The wavering of the love-sick Caldoro while Durazzo is +abusing him is very true to life.<a id="noteref_213" name="noteref_213" href="#note_213"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">213</span></span></a> The skill with which +the <span class="tei tei-q">“melancholy”</span> Vitelli's changes of mood are depicted +in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span><a id="noteref_214" name="noteref_214" href="#note_214"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">214</span></span></a> suggests the theory that Massinger is +drawing his own portrait. The alternation of pride and +humility in Honoria in <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span><a id="noteref_215" name="noteref_215" href="#note_215"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">215</span></span></a> is forcibly shown. +The just anger of Sophia at the end of the same play +yields skilfully to a combined intercession. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As a rule, however, the changes are too rapid. Thus, in +<span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span>, Aurelia, when she hears that Camiola +has ransomed Bertoldo and bound him with a promise to +marry her, suddenly changes her mind; she has been on +the point of marrying the faithless soldier, but, as she +says: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 28.80em"><span style="font-size: 90%">On the sudden</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I feel all fires of love quench'd in the water</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of my compassion.</span><a id="noteref_216" name="noteref_216" href="#note_216"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">216</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Though the change is natural, it is inartistically effected; +it comes too suddenly. Think, however, what an opportunity +this would be for a great actress. If we were in +the audience, we should see the gradual development +reflected in her expression and bearing long before she +utters the words which embody her thought. +</p> + +<span class="tei tei-pb" id="page075">[pg 075]</span><a name="Pg075" id="Pg075" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Other instances of the same thing are to be found in +Donusa's conversion to Christianity in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>,<a id="noteref_217" name="noteref_217" href="#note_217"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">217</span></span></a> +in the change of faith effected in Calista and Christeta by +Dorothea's story of the King of Egypt and Osiris' image,<a id="noteref_218" name="noteref_218" href="#note_218"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">218</span></span></a> +and in the indecision of Lorenzo about matrimony in <span class="tei tei-hi"><span style="font-style: italic">The +Bashful Lover</span></span>.<a id="noteref_219" name="noteref_219" href="#note_219"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">219</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Change of mind is an ungrateful and inartistic experience. +It has landed many honest politicians in bitter +and undeserved reproaches. From Aristotle's time onwards +Euripides has been blamed for his Iphigenia at +Aulis, who first feared to die, and then offered herself +for her country.<a id="noteref_220" name="noteref_220" href="#note_220"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">220</span></span></a> We certainly feel that in Massinger +there are occasionally instances of cheap repentance +which do not seem real. Take the case of Corisca in <span class="tei tei-hi"><span style="font-style: italic">The +Bondman</span></span>; a bad woman repents, but though convinced +we are not pleased at the spectacle.<a id="noteref_221" name="noteref_221" href="#note_221"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">221</span></span></a> If Massinger had +ever read the <span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span> of Aristotle, he forgot or ignored the +precept that a character should be ὁμαλόν, or <span class="tei tei-q">“consistent.”</span><a id="noteref_222" name="noteref_222" href="#note_222"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">222</span></span></a> +If this is not the case there is a danger that +<span class="tei tei-pb" id="page076">[pg 076]</span><a name="Pg076" id="Pg076" class="tei tei-anchor"></a> +the effect will be μιαρόν, or <span class="tei tei-q">“odious,”</span> to use a word +of which Aristotle is fond. I think, then, that this charge +is proven. Massinger saw how effective on the stage a +sudden change of character might be, but lacked the necessary +art to make it convincing. Hence some of his characters +are not even ὁμαλῶς ἀνώμαλοι.<a id="noteref_223" name="noteref_223" href="#note_223"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">223</span></span></a> Perhaps the +explanation is this, that, being a master of language, +he overvalued the persuasiveness of rhetoric.<a id="noteref_224" name="noteref_224" href="#note_224"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">224</span></span></a> It is not +enough to portray the varying emotions which sway the +mind at a particular moment; to produce a satisfactory +whole they have to be fused together. The reader should +not feel that the characters are at the mercy of the situations +in which they are placed, or they will appear to be +lay-figures or puppets, rather than live flesh and blood. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Yet even here a defence of some sort can be set up for +our poet. I will endeavour to make my meaning clear by +an analogy from music. It may have occurred to someone +to ask what the music of Mozart would have been +like if he had lived after Beethoven. Would it have been +more serious and sublime than it is? The question is +worth asking, even if the only answer to it be this, that +without Mozart Beethoven would never have existed. +I think it is fair to argue that Massinger, in his constant +effort after the representation of change of character, +was before his time; he was seeking after a complex but +possible effect, which the novelist can undertake but which +the limitations of the stage render almost impossible.<a id="noteref_225" name="noteref_225" href="#note_225"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">225</span></span></a> +</p> + +<span class="tei tei-pb" id="page077">[pg 077]</span><a name="Pg077" id="Pg077" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Is it fanciful to say that if he had lived in the eighteenth +century, if he had had before his eyes the work of Fielding, +Richardson, and Smollett, he would have been a good +novelist, less cynical than Fielding, more concise than +Richardson, more ideal than Smollett? There are authors +like Euripides and Virgil whose very failures by a strange +paradox seem part of their greatness; and we may perhaps +say that Massinger, by pointing the way somewhat tentatively +and blindly to subtle psychological studies, has +helped to build up the noble fabric of the English novel. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let us now turn to some miscellaneous points of interest +in Massinger; and first, let us note his imitation of Shakspere. +It is tempting to suppose that as he was at one +time a dependent of a family which was intimate with +Shakspere he may have come across the man himself;<a id="noteref_226" name="noteref_226" href="#note_226"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">226</span></span></a> +it is, at any rate, simpler to remember that as he was +thirty-two years of age when Shakspere died, he can +hardly have failed to meet him in his professional relations. +But we have no evidence of the fact. All we can say is +that his plays, like those of Fletcher, Webster, Tourneur, +and others,<a id="noteref_227" name="noteref_227" href="#note_227"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">227</span></span></a> show a constant study of Shakspere.<a id="noteref_228" name="noteref_228" href="#note_228"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">228</span></span></a> +</p> + +<span class="tei tei-pb" id="page078">[pg 078]</span><a name="Pg078" id="Pg078" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +First let me give a few examples of the imitation of +incidents. In <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>,<a id="noteref_229" name="noteref_229" href="#note_229"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">229</span></span></a> Paris refers to a tragedy +<span class="tei tei-q">“in which a murder was acted to the life,”</span> which forced +a guilty hearer to make discovery of his secret; this +recalls the play scene in Hamlet.<a id="noteref_230" name="noteref_230" href="#note_230"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">230</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span><a id="noteref_231" name="noteref_231" href="#note_231"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">231</span></span></a> +Almira makes Antonio tell her his history. The hint of +this is taken from <span class="tei tei-hi"><span style="font-style: italic">Othello</span></span>.<a id="noteref_232" name="noteref_232" href="#note_232"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">232</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span><a id="noteref_233" name="noteref_233" href="#note_233"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">233</span></span></a> Beaumelle +and her maid arrange to be overheard, like Hero +and Ursula in <span class="tei tei-hi"><span style="font-style: italic">Much Ado about Nothing</span></span>.<a id="noteref_234" name="noteref_234" href="#note_234"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">234</span></span></a> The device +by which Beaupré recovers her husband in <span class="tei tei-hi"><span style="font-style: italic">The Parliament +of Love</span></span> is imitated from <span class="tei tei-hi"><span style="font-style: italic">All's Well that Ends Well</span></span> +and <span class="tei tei-hi"><span style="font-style: italic">Measure for Measure</span></span>. The banditti in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span><a id="noteref_235" name="noteref_235" href="#note_235"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">235</span></span></a> +respect the poor like the outlaws in <span class="tei tei-hi"><span style="font-style: italic">The Two Gentlemen +of Verona</span></span>.<a id="noteref_236" name="noteref_236" href="#note_236"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">236</span></span></a> The forest scenes in the same play recall +<span class="tei tei-hi"><span style="font-style: italic">As You Like It</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Midsummer-Night's Dream</span></span>.<a id="noteref_237" name="noteref_237" href="#note_237"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">237</span></span></a> In +<span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span><a id="noteref_238" name="noteref_238" href="#note_238"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">238</span></span></a> the pretty tale of a sister which Ascanio +tells is a reminiscence of <span class="tei tei-hi"><span style="font-style: italic">Twelfth Night</span></span>.<a id="noteref_239" name="noteref_239" href="#note_239"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">239</span></span></a> The incident +in the same play of Hortensio with Ascanio in his arms<a id="noteref_240" name="noteref_240" href="#note_240"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">240</span></span></a> +is modelled on <span class="tei tei-hi"><span style="font-style: italic">As You Like It</span></span>.<a id="noteref_241" name="noteref_241" href="#note_241"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">241</span></span></a> Malefort's behaviour to +the tailor<a id="noteref_242" name="noteref_242" href="#note_242"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">242</span></span></a> is imitated from Petruchio's in <span class="tei tei-hi"><span style="font-style: italic">The Taming of +the Shrew</span></span>.<a id="noteref_243" name="noteref_243" href="#note_243"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">243</span></span></a> The gibberish of the pretended Indians in +<span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span><a id="noteref_244" name="noteref_244" href="#note_244"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">244</span></span></a> reminds us of Parolles' adventure in +<span class="tei tei-hi"><span style="font-style: italic">All's Well</span></span>.<a id="noteref_245" name="noteref_245" href="#note_245"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">245</span></span></a> The scene in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span><a id="noteref_246" name="noteref_246" href="#note_246"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">246</span></span></a> +where Eudocia professes to have eaten the apple is +modelled on <span class="tei tei-hi"><span style="font-style: italic">Othello</span></span><a id="noteref_247" name="noteref_247" href="#note_247"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">247</span></span></a>, where Desdemona asserts that the +handkerchief is not lost. In <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span><a id="noteref_248" name="noteref_248" href="#note_248"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">248</span></span></a> Zanthia +overhears Corisca's confession of love in her sleep, as Iago +<span class="tei tei-pb" id="page079">[pg 079]</span><a name="Pg079" id="Pg079" class="tei tei-anchor"></a> +does Cassio's.<a id="noteref_249" name="noteref_249" href="#note_249"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">249</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">A New Way to pay Old Debts</span></span><a id="noteref_250" name="noteref_250" href="#note_250"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">250</span></span></a> Sir +Giles Overreach, is carried off for treatment to a dark room +like Malvolio in <span class="tei tei-hi"><span style="font-style: italic">Twelfth Night</span></span>.<a id="noteref_251" name="noteref_251" href="#note_251"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">251</span></span></a> Almira in <span class="tei tei-hi"><span style="font-style: italic">A Very +Woman</span></span><a id="noteref_252" name="noteref_252" href="#note_252"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">252</span></span></a> reminds us of the sleep-walking scene in <span class="tei tei-hi"><span style="font-style: italic">Macbeth</span></span>. +The ghosts in <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span><a id="noteref_253" name="noteref_253" href="#note_253"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">253</span></span></a> and <span class="tei tei-hi"><span style="font-style: italic">The Roman +Actor</span></span><a id="noteref_254" name="noteref_254" href="#note_254"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">254</span></span></a> are used like those in the finale of <span class="tei tei-hi"><span style="font-style: italic">Richard III</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Parallels in thought and diction are also numerous. +Take <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span><a id="noteref_255" name="noteref_255" href="#note_255"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">255</span></span></a>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Aretinus.</span></span><span style="font-size: 90%"> Are you on the stage,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You talk so boldly?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Paris.</span></span><span style="font-size: 90%"> The whole world being one,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This place is not exempted.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This goes back to Jaques in <span class="tei tei-hi"><span style="font-style: italic">As You Like It</span></span>.<a id="noteref_256" name="noteref_256" href="#note_256"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">256</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">The +Maid of Honour</span></span><a id="noteref_257" name="noteref_257" href="#note_257"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">257</span></span></a> Jacomo talks of <span class="tei tei-q">“trailing the puissant +pike;”</span> the phrase of Pistol in <span class="tei tei-hi"><span style="font-style: italic">Henry V</span></span>.<a id="noteref_258" name="noteref_258" href="#note_258"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">258</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">The Emperor +of the East</span></span><a id="noteref_259" name="noteref_259" href="#note_259"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">259</span></span></a> Athenais makes use of the phrase <span class="tei tei-q">“prophetic +<span class="tei tei-pb" id="page080">[pg 080]</span><a name="Pg080" id="Pg080" class="tei tei-anchor"></a> +soul,”</span> which we remember in <span class="tei tei-hi"><span style="font-style: italic">Hamlet</span></span>.<a id="noteref_260" name="noteref_260" href="#note_260"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">260</span></span></a> Leosthenes uses +the same phrase in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span><a id="noteref_261" name="noteref_261" href="#note_261"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">261</span></span></a> when the mutinous slave +Cimbrio boasts of the excesses of his friends. The pun +which Hircius makes on the cobbler's awl<a id="noteref_262" name="noteref_262" href="#note_262"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">262</span></span></a> occurs in the +first scene of <span class="tei tei-hi"><span style="font-style: italic">Julius Cæsar</span></span>. The madness of the English +slave in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span><a id="noteref_263" name="noteref_263" href="#note_263"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">263</span></span></a> comes from the grave-diggers' +scene in <span class="tei tei-hi"><span style="font-style: italic">Hamlet</span></span>.<a id="noteref_264" name="noteref_264" href="#note_264"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">264</span></span></a> The <span class="tei tei-q">“many-headed monster, multitude”</span> +of Theodosius in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span><a id="noteref_265" name="noteref_265" href="#note_265"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">265</span></span></a> takes us +back to Coriolanus' <span class="tei tei-q">“beast with many heads”</span>;<a id="noteref_266" name="noteref_266" href="#note_266"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">266</span></span></a> while the +reference in the same play<a id="noteref_267" name="noteref_267" href="#note_267"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">267</span></span></a> to the <span class="tei tei-q">“stomach”</span> reminds us +of the fable of Menenius.<a id="noteref_268" name="noteref_268" href="#note_268"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">268</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span><a id="noteref_269" name="noteref_269" href="#note_269"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">269</span></span></a> Uberti +discourses thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I look on your dimensions, and find not</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Mine own of lesser size; the blood that fills</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My veins, as hot as yours, my sword as sharp,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My nerves of equal strength, my heart as good.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This reminds us of Shylock in <span class="tei tei-hi"><span style="font-style: italic">The Merchant of Venice</span></span><a id="noteref_270" name="noteref_270" href="#note_270"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">270</span></span></a> +and the King in <span class="tei tei-hi"><span style="font-style: italic">Henry V</span></span>.<a id="noteref_271" name="noteref_271" href="#note_271"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">271</span></span></a> Clarindore's language in +<span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span><a id="noteref_272" name="noteref_272" href="#note_272"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">272</span></span></a> is modelled on Malvolio in <span class="tei tei-hi"><span style="font-style: italic">Twelfth +Night</span></span>.<a id="noteref_273" name="noteref_273" href="#note_273"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">273</span></span></a> The same is true of Sir Giles Overreach in <span class="tei tei-hi"><span style="font-style: italic">A New +Way</span></span>.<a id="noteref_274" name="noteref_274" href="#note_274"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">274</span></span></a> Shakspere's dislike of spaniels reappears in the +same play.<a id="noteref_275" name="noteref_275" href="#note_275"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">275</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +No doubt we must make deductions for the common +<span class="tei tei-pb" id="page081">[pg 081]</span><a name="Pg081" id="Pg081" class="tei tei-anchor"></a> +idioms of the day,<a id="noteref_276" name="noteref_276" href="#note_276"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">276</span></span></a> but the cumulative evidence of these +parallels with the elder dramatist is overwhelming.<a id="noteref_277" name="noteref_277" href="#note_277"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">277</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger is very fond of introducing doctors in his +plays; so no doubt are the other dramatists of this period. +It is interesting to compare Paulo in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> with +Corax in <span class="tei tei-hi"><span style="font-style: italic">The Lover's Melancholy</span></span> of Ford, who deals successfully +with two cases of mental derangement. Ford +is more subtle, Massinger more dignified. Thus we find +in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span><a id="noteref_278" name="noteref_278" href="#note_278"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">278</span></span></a> a consultation about Antoninus' +health. Sapritius, the afflicted father, hails the doctors +thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">O you that are half gods, lengthen that life</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their deities lend us; turn o'er all the volumes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of your mysterious Æsculapian science</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">T' increase the number of this young man's days.</span><a id="noteref_279" name="noteref_279" href="#note_279"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">279</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Compare with this another passage in <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Sforza.</span></span><span style="font-size: 90%"> O you earthly gods,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You second natures, that from your great master,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Who join'd the limbs of torn Hippolytus,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And drew upon himself the Thunderer's envy,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Are taught those hidden secrets that restore</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To life death-wounded men!</span><a id="noteref_280" name="noteref_280" href="#note_280"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">280</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span><a id="noteref_281" name="noteref_281" href="#note_281"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">281</span></span></a> Paulo, on entering with two surgeons, +is thus addressed: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Duke.</span></span><span style="font-size: 90%"> My hand! You rather</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Deserve my knee, and it shall bend as to</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A second father, if your saving aids</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Restore my son.</span></div> +</div> + +<span class="tei tei-pb" id="page082">[pg 082]</span><a name="Pg082" id="Pg082" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Viceroy.</span></span><span style="font-size: 90%"> Rise, thou bright star of knowledge,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thou honour of thy art, thou help of nature.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thou glory of our academies!</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The old saying, <span class="tei tei-q">“Ubi tres medici ibi duo athei,”</span> referred +to by Sir T. Browne in <span class="tei tei-hi"><span style="font-style: italic">Religio Medici</span></span> is recalled to us by +these lines: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Viceroy.</span></span><span style="font-size: 90%"> Observe his piety; I have heard, how true</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I know not, most physicians, as they grow</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Greater in skill, grow less in their religion;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Attributing so much to natural causes,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That they have little faith in that they cannot</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Deliver reason for; this doctor steers</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Another course.</span><a id="noteref_282" name="noteref_282" href="#note_282"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">282</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We find them again in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>,<a id="noteref_283" name="noteref_283" href="#note_283"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">283</span></span></a> where +a surgeon is contrasted with an empiric who vends his +wares and talks much Latin, like the quack in Ben Jonson's +<span class="tei tei-hi"><span style="font-style: italic">Alchemist</span></span>, while Paulinus complains of the many medical +impostors who prey upon the rich. The crisis of <span class="tei tei-hi"><span style="font-style: italic">The Duke +of Milan</span></span><a id="noteref_284" name="noteref_284" href="#note_284"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">284</span></span></a> owes much to the action of doctors. The plot +of <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> hinges largely on the skill of the doctor +Paulo, to whom we have referred above. In this play +we have two victims of melancholy, Almira and Cardenes; +the former is cured by falling in love with the disguised +John Antonio; the latter is Paulo's patient. The recovery +of the avaricious father in <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span><a id="noteref_285" name="noteref_285" href="#note_285"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">285</span></span></a> is due to Paris +acting in the part of a doctor. The physician Dinant in +<span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span> gives the gallants a good lesson +(IV., 5). And in <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span><a id="noteref_286" name="noteref_286" href="#note_286"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">286</span></span></a> we find an elaborate +simile, in which soldiers are said to be the surgeons of +the State. In the same play Hilario,<a id="noteref_287" name="noteref_287" href="#note_287"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">287</span></span></a> when on starvation +<span class="tei tei-pb" id="page083">[pg 083]</span><a name="Pg083" id="Pg083" class="tei tei-anchor"></a> +fare, is accosted by a surgeon, who invites him to sell himself +for <span class="tei tei-q">“a living anatomy to be set up in the surgeons' +hall.”</span> Such passages,<a id="noteref_288" name="noteref_288" href="#note_288"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">288</span></span></a> and the zest with which Massinger +refers to potatoes, eringos, and the like,<a id="noteref_289" name="noteref_289" href="#note_289"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">289</span></span></a> together +with the rather wearisome allusions which he makes to +<span class="tei tei-q">“caudles”</span> and <span class="tei tei-q">“cullises,”</span><a id="noteref_290" name="noteref_290" href="#note_290"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">290</span></span></a> lead us to wonder whether +at one time of his life he may have seriously studied +medicine. There is a significant passage in <span class="tei tei-hi"><span style="font-style: italic">The Parliament +of Love</span></span>,<a id="noteref_291" name="noteref_291" href="#note_291"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">291</span></span></a> where Chamont says to the doctor Dinant, +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Good master doctor, when your leisure serves,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Visit my house; when we least need their art,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Physicians look most lovely.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And close intercourse with doctors may have suggested +the lines immediately below: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Novall.</span></span><span style="font-size: 90%"> The knave is jealous.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Perigot.</span></span><span style="font-size: 90%"> 'Tis a disease few doctors cure themselves of.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +At the same time, let us not forget the passages where +he shows a knowledge of the law;<a id="noteref_292" name="noteref_292" href="#note_292"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">292</span></span></a> nor the fact that books +have been written to prove that Shakspere must have had +a training in this or that profession.<a id="noteref_293" name="noteref_293" href="#note_293"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">293</span></span></a> The really interesting +point about the doctors in Massinger is that they are +so often praised as the healers of the mind; the dramatist +who delights in drawing gloomy, passionate characters +seems to have a high opinion for the profession which +<span class="tei tei-pb" id="page084">[pg 084]</span><a name="Pg084" id="Pg084" class="tei tei-anchor"></a> +undertook to cure <span class="tei tei-q">“melancholy.”</span><a id="noteref_294" name="noteref_294" href="#note_294"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">294</span></span></a> In <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> +he takes care to praise and reward the doctor more highly +than the surgeons. On the other hand, like most of his +contemporaries, he naturally makes the physician a part +of the machinery rather than an individual character. +Even the doctor in <span class="tei tei-hi"><span style="font-style: italic">A Fair Quarrel</span></span>, who takes an unusually +large part in the plot, can hardly be said to be +more than a carefully drawn lay figure. The same remark +applies to the friars of Shakspere. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The chief question about Massinger which interests +the student of English is the authorship of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>. +Did he take part in writing that play with Fletcher? +There is a great mass of literature on this subject. As one +who has read the undoubted plays of Massinger many +times, I am bound to say that while there is much in the +play which reminds one of Shakspere and Fletcher, I +find little trace of Massinger's style. I do not deny that +there are one or two slight reminiscences; thus the word +<span class="tei tei-q">“file”</span><a id="noteref_295" name="noteref_295" href="#note_295"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">295</span></span></a> is a favourite one with Massinger. We find +blushing in the play once or twice,<a id="noteref_296" name="noteref_296" href="#note_296"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">296</span></span></a> but then we find it +elsewhere in Shakspere. Anne's remark to the old lady, +<span class="tei tei-q">“Come, you are pleasant,”</span><a id="noteref_297" name="noteref_297" href="#note_297"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">297</span></span></a> is in Massinger's manner, +but he may have taken the turn from Shakspere. The +strict metre of such a line as this is like Massinger;<a id="noteref_298" name="noteref_298" href="#note_298"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">298</span></span></a> +the same remark applies again: +</p> + +<span class="tei tei-pb" id="page085">[pg 085]</span><a name="Pg085" id="Pg085" class="tei tei-anchor"></a> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Surrey.</span></span><span style="font-size: 90%"> Has the King this?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Suffolk.</span></span><span style="font-size: 90%"> Believe it.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Surrey.</span></span><span style="font-size: 90%"> Will this work?</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The fourth scene of the second act is a great law-court +Scene, and Massinger has several such, in which +he may be copying Shakspere. The combination of +courtiers in dialogue which we get in various parts of +<span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> is like Massinger;<a id="noteref_299" name="noteref_299" href="#note_299"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">299</span></span></a> but, to my mind, the +scenes are more clumsy than their parallels in Massinger. +Sudden changes of mind are found in <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>;<a id="noteref_300" name="noteref_300" href="#note_300"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">300</span></span></a> +and this is probably the strongest bit of evidence in favour +of Massinger's authorship. The characters are not harmoniously +rounded off: Buckingham's prayers for the +King<a id="noteref_301" name="noteref_301" href="#note_301"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">301</span></span></a> do not please us; the King's scruples of conscience +are not convincing;<a id="noteref_302" name="noteref_302" href="#note_302"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">302</span></span></a> Wolsey's meekness<a id="noteref_303" name="noteref_303" href="#note_303"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">303</span></span></a> and piety<a id="noteref_304" name="noteref_304" href="#note_304"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">304</span></span></a> do +not ring true, though they anticipate the picture of his +last year which we get in Cavendish's Life—but all these +blemishes may be due to hasty work or dual authorship. +Failure in representing vacillation and complexity of +character is, as we have seen above, a note of Massinger, +but the failures of this kind in <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> are marked by +a sentimentality which reminds us of Fletcher. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let us see now what there is in the play unlike Massinger. +To begin with, there are many passages in Shakspere's +difficult later style,<a id="noteref_305" name="noteref_305" href="#note_305"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">305</span></span></a> and there is a complete absence +of Massinger's sinuous sentences and frequent parentheses, +as also of his peculiar vocabulary; there are many flights +of high and tender poetry which are beyond his compass; +there are brilliant γνῶμαι, such as— +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Griffith.</span></span><span style="font-size: 90%"> Noble madam,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Men's evil manners live in brass, their virtues</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">We write in water,</span><a id="noteref_306" name="noteref_306" href="#note_306"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">306</span></span></a></div> +</div> +</div> + +<span class="tei tei-pb" id="page086">[pg 086]</span><a name="Pg086" id="Pg086" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +or, +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Chancellor.</span></span><span style="font-size: 90%"> But we are all men,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In our own natures frail, and capable</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of our flesh; few are angels,</span><a id="noteref_307" name="noteref_307" href="#note_307"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">307</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +which are quite out of his range of power. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Again, there is a curious series of links in the play, +by which characters who are to come on later are introduced; +it seems to be an attempt to give unity to a disconnected +work. Thus, the King's belief in Cranmer +is early indicated;<a id="noteref_308" name="noteref_308" href="#note_308"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">308</span></span></a> Cromwell's future success is foreshadowed +by Wolsey;<a id="noteref_309" name="noteref_309" href="#note_309"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">309</span></span></a> Gardiner's dislike of Cranmer is +brought before us.<a id="noteref_310" name="noteref_310" href="#note_310"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">310</span></span></a> This is a method of which I can recall +no instance in Massinger's undoubted plays. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In spite of his roughness and ferocity, Henry is more of a +man than any of Massinger's tyrants; there is no parallel +in Massinger to Anne Boleyn, slight as her portrait is; +while Katherine and Wolsey are alike far superior to +anything of his. Lastly, the pageantry and processions +of the play do not appear in Massinger's simple designs. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The authors of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> were essaying an impossible +task. They were trying to construct an historical play +out of materials which were too various to make artistic +unity feasible, and they had to make an unattractive +character the centre of the piece. Consequently, they +decided to end the play at the christening of Elizabeth, +and to cover their retreat with gorgeous rhetoric about the +Virgin Queen<a id="noteref_311" name="noteref_311" href="#note_311"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">311</span></span></a> and her Stuart successor. It would have +been quite impossible to introduce the death of Anne +Boleyn, or any further incident of the reign, without +harrowing the feelings of the spectator and losing all +sense of proportion. But they do make a desperate +effort to centre our attention on the King as a commanding +figure; he comes before us as <span class="tei tei-q">“the first gentleman in +<span class="tei tei-pb" id="page087">[pg 087]</span><a name="Pg087" id="Pg087" class="tei tei-anchor"></a> +Europe,”</span> and as the anxious lover of his people; he is +represented as torn by conflicting emotions about the +divorce, and as badly treated by Rome; all we can say is, +these facts are true, however unskilfully the play brings +them before us. Whatever the King does, we are meant +to like him. His victims all conspire to invoke the blessings +of Heaven on his head; Buckingham,<a id="noteref_312" name="noteref_312" href="#note_312"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">312</span></span></a> Wolsey,<a id="noteref_313" name="noteref_313" href="#note_313"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">313</span></span></a> +Katherine,<a id="noteref_314" name="noteref_314" href="#note_314"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">314</span></span></a> all agree in this, reminding us of John Stubbs +the Puritan, who, when his right hand was cut off for +writing a book against Elizabeth's proposed marriage, +put off his hat with his left, and said with a loud voice, +<span class="tei tei-q">“God save the Queen.”</span> The christening scene in Act V. +is skilfully constructed so as to concentrate our interest +on Henry; we feel that he is a royal and heroic figure, +whose faults may in the last resort be palliated by the +consideration that he is the father of Elizabeth. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I agree with the critics who regard the play as a failure +from the artistic point of view; it lacks unity, and it +moves awkwardly. It might even be called a spectacular +experiment. But I rate it higher than they seem to do; +its faults are largely due to the subject; it has much of +Shakspere in it, as for example, the conscientious way in +which the historical details are introduced.<a id="noteref_315" name="noteref_315" href="#note_315"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">315</span></span></a> It is full of +superb and moving passages, and it uses the eleven-syllable +line with skill and tenderness. If some of its +defects remind us faintly of Massinger, its excellences +are altogether beyond his abilities. Doubtless, it is +natural to wish that each play of Shakspere should excel +its predecessor, and to be unwilling to confess that he +ended his career with something that was not supremely +excellent. In the same way we may be sorry that one +<span class="tei tei-pb" id="page088">[pg 088]</span><a name="Pg088" id="Pg088" class="tei tei-anchor"></a> +of Mozart's last works, <span class="tei tei-hi"><span style="font-style: italic">Titus</span></span>, was a failure. But it is +better to take things as we find them than to seek to +twist them into something else on inadequate grounds. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Boyle's attribution of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> to Fletcher and Massinger<a id="noteref_316" name="noteref_316" href="#note_316"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">316</span></span></a> +was coldly received by the New Shakspere Society.<a id="noteref_317" name="noteref_317" href="#note_317"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">317</span></span></a> +Let us look at his arguments. I trust that condensation +will do them no injustice. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +1. There is a change in the conception of the character +of Buckingham. Such changes constantly occur in the +plays which Fletcher and Massinger wrote together, notably +in the character of Sir John Van Olden Barnavelt. Therefore +Massinger wrote part of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>. This line of +argument, even if valid, would only prove collaboration +by Fletcher with someone else. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +2. The Shakspere play <span class="tei tei-hi"><span style="font-style: italic">All is True</span></span> may have +perished in the <span class="tei tei-q">“Globe”</span> fire of 1613. <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> was +written to take its place, but not produced before 1616. +The evidence quoted for the date 1616-17 is very weak, +and does nothing to prove Massinger's co-operation. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +3. If it be urged that the reputed authors of the play +were alive in 1623, when it was published as Shakspere's +work in the Folio, Boyle replies,<a id="noteref_318" name="noteref_318" href="#note_318"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">318</span></span></a> <span class="tei tei-q">“that, with the exception +perhaps of Ben Jonson, it would never have occurred +to a dramatist of that age to claim as his property what +was published under another's name.”</span> This is a bold +statement. Can an instance of such indifference be +quoted? Or are we merely bidden to remember that +Massinger was poor? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +4. Boyle then works through the scenes which he +ascribes to Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1.—The opening is like <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, +III., 1. <span class="tei tei-q">“An untimely ague”</span> corresponds to <span class="tei tei-q">“a sudden +fever.”</span> The resemblance of the scenes is undoubted, and +the parallel phrases are remarkable. Note, however, +<span class="tei tei-pb" id="page089">[pg 089]</span><a name="Pg089" id="Pg089" class="tei tei-anchor"></a> +that the writer says the same thing twice (lines 4 and 13), +while lines 9-12 are not like Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 4.—Lines 1-18, and 60 to the end. I find no trace +of Massinger's style in these passages. He never wrote +lines 75-6: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The fairest hand I ever touch'd! O beauty,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Till now I never knew thee!</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +or such a phrase as <span class="tei tei-q">“let the music knock it”</span> <span class="tei tei-foreign"><span style="font-style: italic">ad finem</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1.—Lines 1-54, and 136 to the end. I find no trace +of Massinger's style in these passages. Boyle has to +allow that Fletcher altered several lines in 1-54; this is +precarious and subjective reasoning. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 3.—Lines 1-11 are in the parenthetic manner, but +quite unlike Massinger's. <span class="tei tei-q">“Soft cheveril conscience”</span> in +line 31, and <span class="tei tei-q">“you'd venture an emballing”</span> in line 47, +are instances of the strong vocabulary which marks the +play.<a id="noteref_319" name="noteref_319" href="#note_319"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">319</span></span></a> Picturesque phrases of this kind are not characteristic +of Massinger's style. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Nor did Massinger ever sink so low as line 64: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A thousand pound a year, annual support.</span><a id="noteref_320" name="noteref_320" href="#note_320"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">320</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 4.—No doubt Massinger loves a forensic scene, but +this one leads to nothing and leaves the mind in confusion. +Now, Massinger was too good an artist to do that. The +things the people say in this scene must have passed through +their minds in real life, but they are combined in such +a way as to be true to history rather than to dramatic +propriety. The author aims at telling what happened, +and what happened does not always make a good play. +It might even be urged from what we know of Massinger +that he was too good a <span class="tei tei-q">“stage-poet”</span> to undertake an +English historical play with its necessary limitations. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 2, 1-203.—The scene, like so much else in the play, +lacks the refinement and courtliness which Massinger +<span class="tei tei-pb" id="page090">[pg 090]</span><a name="Pg090" id="Pg090" class="tei tei-anchor"></a> +always has at his command. It may be noted that the +bluff, coarse atmosphere of the <span class="tei tei-q">“Shaksperian”</span> scenes +is very suitable to the central figure of the play.<a id="noteref_321" name="noteref_321" href="#note_321"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">321</span></span></a> Henry +VIII infects his surroundings with himself, and this might +be quoted as an indication of Shaksperian skill. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1.—The prosaic details of this scene are unlike +anything in Massinger.<a id="noteref_322" name="noteref_322" href="#note_322"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">322</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1.—The point of this scene is to concentrate our +attention on Elizabeth's birth. The scene <span class="tei tei-q">“sprawls”</span> +sadly, to use Boyle's description of Fletcher's method. +First we have Gardiner and Lovell, then Henry and +Suffolk, then Henry and Cranmer, then Henry and the +old lady. Massinger constructed better than this. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 3, 1-113.—Such a speech as Cranmer makes (lines +58-69) is too short for Massinger's ample method, and its +terse, broken style is singularly unlike his. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +5. The few parallels of diction which Boyle brings +forward are either from plays which are not certainly by +Massinger, or may be explained as due to reminiscence +or common phraseology. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +6. Boyle has much of value to say in his criticisms of +the characters. But again and again he seems to forget +that the author is hampered by the story. He could not +treat Henry VIII as Schiller treated Mary Stuart; to +idealize the events would have been an act of <span class="tei tei-foreign"><span style="font-style: italic">lèse-majesté</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is true that Anne Boleyn is not a creation of the same +order as Shakspere's later heroines—Imogen, Miranda, +Marina, Perdita. Though beautiful and charming, she is +shallow and commonplace. Is not this, however, the +Anne Boleyn of real life? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Katherine is inferior to Hermione in <span class="tei tei-hi"><span style="font-style: italic">The Winter's +Tale</span></span>.”</span> But why should not her portrait be drawn on +different lines? Is she not a proud Spanish princess? +She is certainly one of the great figures of English +Tragedy. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Wolsey is meant to be great but is really vulgar, while +<span class="tei tei-pb" id="page091">[pg 091]</span><a name="Pg091" id="Pg091" class="tei tei-anchor"></a> +<span class="tei tei-q">“his utter collapse after disgrace is unnatural.”</span> The reply +is that Wolsey is a mixed character, and none the worse +dramatically for that; very able, very unscrupulous in his +use of the courtier's tricks, very fond of power; but not +wholly bad. His repentance is true at once to human +nature and to history. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“The king is unintelligible.”</span> The fact is, it was impossible +to make a hero of Henry VIII; it does not, therefore, +follow that Massinger helped to write the play! +Boyle is correct when he says that it is with Henry as it is +with Wolsey: <span class="tei tei-q">“we receive our impressions of the characters +from the opinions formed of them by others.”</span> +In other words, the characterization of the play is faulty. +Some critics have supposed that this fact is due to loss +of mental power by Shakspere; it is simpler to hold the +collaboration with Fletcher as responsible for the jolts +and jars which the play gives the reader. If anyone still +holds that Shakspere wrote the whole play, he might +plausibly take the line that Shakspere was experimenting +in the new style and metre of his popular young rival +Fletcher. If, however, Shakspere in his retreat at Stratford, +in days when posts were infrequent and locomotion +slow, forwarded scenes and suggestions for Fletcher to +work up at his own sweet will, something like what we +have would be the result. Fletcher was evidently on his +mettle on this occasion. I cannot prove that Fletcher +did not invite Massinger to help him in such an enterprise, +and I know how fond Massinger was of studying +Shakspere. The latter argument, however, cuts both +ways. Again, Massinger may have had an earlier Shaksperian +style, very unlike his mature style; but this is +pure hypothesis. The evidence which we have does not +justify us in saying more than this, that he knew the play +of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> well.<a id="noteref_323" name="noteref_323" href="#note_323"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">323</span></span></a> +</p> + +<span class="tei tei-pb" id="page092">[pg 092]</span><a name="Pg092" id="Pg092" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It would take me too far from my purpose to discuss +the authorship of <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span> in detail, interesting +as the problem is, but as many critics have +assigned the <span class="tei tei-q">“un-Fletcherian”</span> parts of the play to +Massinger, I have, as in duty bound, read the play carefully +several times. There is very little trace of his style, +or method, or metre. The only passage which reads to +me like Massinger is assigned by Boyle to Fletcher.<a id="noteref_324" name="noteref_324" href="#note_324"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">324</span></span></a> +Mr. Dugdale Sykes, in an acute article,<a id="noteref_325" name="noteref_325" href="#note_325"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">325</span></span></a> has produced some +parallels between Massinger and <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>; +but though one or two of them are striking, they do not +prove his case when they are looked at in connexion with +the context. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Take, for example: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">3rd Queen.</span></span><span style="font-size: 90%"> He that will all the treasure know o' th' earth</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Must know the centre too.</span><a id="noteref_326" name="noteref_326" href="#note_326"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">326</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Mr. Sykes compares these lines in <span class="tei tei-hi"><span style="font-style: italic">The Parliament of +Love</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Cleremond.</span></span><span style="font-size: 90%"> And I should gild my misery with false comforts,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If I compared it with an Indian slave's,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That with incessant labour to search out</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Some unknown mine, dives almost to the centre.</span><a id="noteref_327" name="noteref_327" href="#note_327"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">327</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On this passage I make two remarks: first, such similarity +of thought as is found here may be due to imitation +or unconscious reminiscence of <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>. +A man who constantly repeats himself is surely the sort of +person who would delight to borrow thoughts and phrases +from other writers, and to imitate whole scenes and incidents. +<span class="tei tei-pb" id="page093">[pg 093]</span><a name="Pg093" id="Pg093" class="tei tei-anchor"></a> +Are we to suppose that Massinger confined his +studies to Shakspere? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Secondly, let us judge the passage as a whole; it runs +thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He that will all the treasure know o' th' earth</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Must know the centre too; he that will fish</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For my least minnow, let him lead his line</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To catch one at my heart.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Anything more unlike Massinger than this fishing for +minnows cannot be imagined. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Take again the parallel,<a id="noteref_328" name="noteref_328" href="#note_328"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">328</span></span></a> <span class="tei tei-q">“which alone should be conclusive +of Massinger's authorship”</span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Pirithous.</span></span><span style="font-size: 90%"> Though I know</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His ocean needs not my poor drops, yet they</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Must yield their tribute there. My precious maid,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Those best affections, that the heavens infuse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In their best temper'd pieces, keep enthroned</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In your dear heart.</span><a id="noteref_329" name="noteref_329" href="#note_329"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">329</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span> we have: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">Though I know</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The ocean of your apprehensions needs not</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The rivulet of my poor cautions, yet,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Bold from my long experience, I presume, etc.</span><a id="noteref_330" name="noteref_330" href="#note_330"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">330</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Though the similarity of thought and expression in the +first three lines is manifest, the archaic simplicity of the +first passage differs greatly from the mature flow of the +second. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +What is Mr. Sykes' theory? <span class="tei tei-q">“If we admit Massinger's +collaboration in this play, at the very outset of +his literary career, before his style was definitely formed, +and when the influence of the foremost dramatist +of the age was strongest upon him, the apparently +<span class="tei tei-q">‘Shaksperian’</span> quality of its verse can readily be explained.”</span> +On this proposition I make two remarks; +<span class="tei tei-pb" id="page094">[pg 094]</span><a name="Pg094" id="Pg094" class="tei tei-anchor"></a> +first, that as we have none of Massinger's early works, +I cannot prove that he never wrote in the style of <span class="tei tei-hi"><span style="font-style: italic">The +Two Noble Kinsmen</span></span>; I can only assert with absolute +certainty that none of his extant works has the least +resemblance to it. Secondly, as to the supposed <span class="tei tei-q">“Shaksperian”</span> +colour of the play, this is a point on which one's +judgment varies each time one reads it. There is a great +deal in the <span class="tei tei-q">“un-Fletcherian”</span> parts which reminds one +of Shakspere; some of it is so like his later style that it is +not surprising to find that many great critics have assigned +it to him; many other passages, however, seem just not +to ring true; they are obscure because they have little +meaning. For let not the fact be disguised, in spite of one +great lyric, several splendid scenes, and some fine speeches, +there is much poor stuff in <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The simplest explanation of the double ascription in +the quarto of 1634 is to suppose that Shakspere helped +Fletcher in some way. He may even have written the un-Fletcherian +parts,<a id="noteref_331" name="noteref_331" href="#note_331"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">331</span></span></a> though, personally, I find traces of +Fletcher in them also; he may have left material which +Fletcher worked up; he may have merely suggested the +construction of the plot, a department in which Fletcher +is weak. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +If, however, the <span class="tei tei-q">“Shaksperian”</span> parts be deemed +unworthy of Shakspere, why assign them to Massinger, +whose work they do not resemble? Could no one else +have imitated Shakspere except Massinger? Why should +not Fletcher himself for once have caught the Shaksperian +manner? Why should he not have confided the +execution of a part to someone else who was soaked in +Shakspere's style? Why should not Beaumont have +helped him here as elsewhere,<a id="noteref_332" name="noteref_332" href="#note_332"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">332</span></span></a> or possibly Heywood? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The archaic flavour of the play is to me the outstanding +fact about it; we know that plays on this subject were acted +<span class="tei tei-pb" id="page095">[pg 095]</span><a name="Pg095" id="Pg095" class="tei tei-anchor"></a> +in 1566 and 1594. The archaic flavour may be due to the +influence of Chaucer on the writers; it is more likely to be +due to an earlier play having been taken and altered. +It might also be due to the collaboration of someone like +Heywood, who, though late in time, is surprisingly simple +and early in style. The rustic scenes are an instance of +this very early manner.<a id="noteref_333" name="noteref_333" href="#note_333"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">333</span></span></a> If Shakspere and Fletcher took +an old play, and the former contributed a few turns to +the revised edition, then everything would be accounted +for.<a id="noteref_334" name="noteref_334" href="#note_334"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">334</span></span></a> It will be said that there are scenes which remind us +of Lady Macbeth and Ophelia; why should not an already +existing play have suggested to Shakspere something +which he worked up in those two characters into a far +finer result? We know for a fact that much of his best +work is based on older plays. This random hypothesis +is quite as probable as the supposition that Massinger +had anything to do with <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let us next consider Mr. Tucker Brooke's position.<a id="noteref_335" name="noteref_335" href="#note_335"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">335</span></span></a> +After a searching and masterly analysis of the merits +and defects of the play, he ends with a guarded tendency +towards assigning the <span class="tei tei-q">“un-Fletcherian”</span> parts to Massinger +on the following grounds: <span class="tei tei-q">“The metrical tests +give him an even better title than his master [<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, Shakspere] +to the doubtful parts of our play.”</span> To this I reply +that style is a more important test than metre. There are, +secondly, <span class="tei tei-q">“the structural and psychological imperfections +of the work”</span>; thirdly, <span class="tei tei-q">“the tendency to unnecessary +coarseness of language”</span>; fourthly, <span class="tei tei-q">“the feeble imitation +of Shakspere”</span>; fifthly, <span class="tei tei-q">“the frequent similarity to Massinger's +acknowledged writings.”</span> The only serious argument +against the assumption is that there is nothing in +Massinger to compare with <span class="tei tei-q">“the magnificent poetry of +the un-Fletcherian part.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let us briefly look at these arguments. The work +<span class="tei tei-pb" id="page096">[pg 096]</span><a name="Pg096" id="Pg096" class="tei tei-anchor"></a> +is <span class="tei tei-q">“structurally and psychologically imperfect.”</span> True, +and this point might be quoted to support the theory that +the play is based on an old and immature tragedy. As far +as concerns structure, Massinger's plays are always strong; +so that part of the argument falls to the ground. No doubt +his psychology is his weak point, but its weakness is of a +different kind from that which we find in <span class="tei tei-hi"><span style="font-style: italic">The Two Noble +Kinsmen</span></span>. There are no violent emotions of the sort in +which he rejoices in it. There are no characters in Massinger +resembling Palamon and Arcite. Mr. Brooke refers +to their <span class="tei tei-q">“spinelessness,”</span> and it is true that they are not +much differentiated. I suppose, however, that he would +allow that they start by being a romantic pair of friends, +that their quarrel when they first see Emilia is lifelike, +and that their subsequent behaviour is chivalrous. When +he refers to <span class="tei tei-q">“the really revolting wishy-washiness and +ingrained sensuality of Emilia”</span> he uses exaggerated +language. The fact is, that Emilia is in a very difficult +position, and if her character is ambiguous it is the fault +of the story rather than of the author. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“The tendency to unnecessary coarseness of language.”</span> +This is based in the main on Hippolyta's language,<a id="noteref_336" name="noteref_336" href="#note_336"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">336</span></span></a> +with which Mr. Sykes compares a passage in <span class="tei tei-hi"><span style="font-style: italic">The +Unnatural Combat</span></span>.<a id="noteref_337" name="noteref_337" href="#note_337"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">337</span></span></a> I have discussed the supposed coarseness +of Massinger's heroines elsewhere. In spite of everything +that Boyle can say, with his catalogue of twenty-two +passages, I wonder who is right about Massinger's +women, Boyle or Courthope, who says that <span class="tei tei-q">“his portraits +of women show more delicacy of feeling and imagination +than those of any English dramatist with the exception +of Shakspere.”</span><a id="noteref_338" name="noteref_338" href="#note_338"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">338</span></span></a> I, at any rate, feel that Courthope +is nearer the truth than Boyle and his followers. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Feeble imitation of Shakspere.”</span> That there is imitation +of Shakspere in Massinger we all know; but I deny that +it is feeble, and we know that others of the same age, +<span class="tei tei-pb" id="page097">[pg 097]</span><a name="Pg097" id="Pg097" class="tei tei-anchor"></a> +like Fletcher, Webster, and Tourneur, have delighted to +imitate him. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“The frequent similarity to Massinger's writings.”</span> +In the first place, I do not feel that the similarity is frequent; +and secondly, as has already been pointed out, +what similarity there is may be due to imitation of <span class="tei tei-hi"><span style="font-style: italic">The +Two Noble Kinsmen</span></span> by Massinger. Are we to suppose +that the only author he imitated or borrowed from was +Shakspere? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The final reservation raises mixed feelings. I am tired +of those writers who grudgingly attribute to Massinger +the leavings of other playwrights, making him the whipping +boy of his age, and who proceed to qualify their +theories by doubts as to his ability to attain to the excellences +which they perforce discover in them. I will be +so far generous to Mr. Brooke as to allow that <span class="tei tei-q">“the magnificent +poetry of the un-Fletcherian parts”</span> is unlike Massinger, +because there is no reason for supposing that he +wrote any of these parts. Massinger's fame can stand +on its own merits without these churlishly conceded +ascriptions of doubtful work. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And now let us pass to Boyle's notable article on this +subject.<a id="noteref_339" name="noteref_339" href="#note_339"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">339</span></span></a> Much as I admire his learning and zeal, I am +amazed at the perversity of his judgment and the thinness +of his arguments. Let us take them in order. +<span class="tei tei-q">“There is a want of development in the dramatic character”</span><a id="noteref_340" name="noteref_340" href="#note_340"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">340</span></span></a> +of <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>. This Boyle ascribes +to the fact that, as elsewhere, Massinger's conceptions were +blurred by Fletcher's co-operation in other parts of the +play. As this argument begs the question it has no weight. +<span class="tei tei-q">“Allusions to Shakspere are characteristic both of Massinger +and <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>.”</span><a id="noteref_341" name="noteref_341" href="#note_341"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">341</span></span></a> Are we to suppose +that no one imitated Shakspere except Massinger? +<span class="tei tei-q">“The metrical structure of the play corresponds closely +with Massinger's general style.”</span><a id="noteref_342" name="noteref_342" href="#note_342"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">342</span></span></a> Here, however, Boyle +<span class="tei tei-pb" id="page098">[pg 098]</span><a name="Pg098" id="Pg098" class="tei tei-anchor"></a> +has to allow that the percentages for double endings +are not what you would expect. And I look with suspicion +on a writer who professes to be so certain of these +tests that he can assign I., 1-40, and V., 1-19, to Fletcher. +<span class="tei tei-q">“Massinger is fond of classical allusions, as is the author +of <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>.”</span><a id="noteref_343" name="noteref_343" href="#note_343"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">343</span></span></a> This argument deserves +no consideration when we remember that the fact is true +of other Elizabethan writers. For example, we find <span class="tei tei-q">“the +helmeted Bellona,”</span><a id="noteref_344" name="noteref_344" href="#note_344"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">344</span></span></a> and Massinger is fond of the sonorous +word.<a id="noteref_345" name="noteref_345" href="#note_345"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">345</span></span></a> Yes, but Bellona is not unknown in Shakspere. +M. Arnold has pointed out that she occurs in a weak passage +of Macbeth.<a id="noteref_346" name="noteref_346" href="#note_346"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">346</span></span></a> <span class="tei tei-q">“Medical and surgical similes occur +in both.”</span><a id="noteref_347" name="noteref_347" href="#note_347"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">347</span></span></a> When we come to investigate these we find +that the remarks in question are of a commonplace kind. +<span class="tei tei-q">“The characters of <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span> resemble +those of Massinger.”</span><a id="noteref_348" name="noteref_348" href="#note_348"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">348</span></span></a> Theseus, for example, resembles +Lorenzo in <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>. I see no resemblance. +<span class="tei tei-q">“Palamon and Arcite may be met with in many of Massinger's +plays.”</span><a id="noteref_349" name="noteref_349" href="#note_349"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">349</span></span></a> I fail to find them anywhere. <span class="tei tei-q">“The +three ladies are grossly sensual in their remarks.”</span><a id="noteref_350" name="noteref_350" href="#note_350"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">350</span></span></a> +I have dealt with this point before, and it really amounts +to a mischievous obsession in Boyle's mind. Let us take +the passages seriatim; Emilia is talking privately to Hippolyta<a id="noteref_351" name="noteref_351" href="#note_351"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">351</span></span></a> +about a dead girl friend to whom she was devoted +when young. In the course of this beautiful passage she +says: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">The flower that I would pluck</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And put between my breasts, then but beginning</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To swell about the blossom, oh! she would long</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Till she had such another, and commit it</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To the like innocent cradle, where phœnix-like</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">They died in perfume.</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page099">[pg 099]</span><a name="Pg099" id="Pg099" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I am ashamed to waste words in vindicating this passage, +which Boyle sets by the language of Iachimo in +Cymbeline in describing the mole on Imogen's breast<a id="noteref_352" name="noteref_352" href="#note_352"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">352</span></span></a> to +a company of gentlemen. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The next one is <span class="tei tei-q">“decisive of the question of the authorship +of our play.”</span> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">1st Queen.</span></span><span style="font-size: 90%"> When her arms,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Able to lock Jove from a synod, shall</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By warranting moonlight corslet thee, O when</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her twinning cherries shall their sweetness fall</span><a id="noteref_353" name="noteref_353" href="#note_353"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">353</span></span></a></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Upon thy tasteful lips, what wilt thou think</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of rotten kings and blubbered queens? What care</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For what thou feel'st not, what thou feel'st being able</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To make Mars spurn his drum? O, if thou covet</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But one night with her, every hour in't will</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Take hostage of thee for a hundred, and</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thou shalt remember nothing more than what</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That banquet bids thee to.</span><a id="noteref_354" name="noteref_354" href="#note_354"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">354</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Though there are passages in Massinger of which the +thought is similar to that presented here, I do not judge +it or them as severely as Boyle. The point, however, +which I wish to make is this: these lines are typical of what +I have called the archaic flavour of the play. Where in +Massinger's works will you find <span class="tei tei-q">“warranting moonlight,”</span> +<span class="tei tei-q">“tasteful lips,”</span> <span class="tei tei-q">“twinning cherries,”</span> <span class="tei tei-q">“rotten kings and +blubbered queens,”</span> or <span class="tei tei-q">“Mars' drum”</span>? The idea that +Massinger wrote this passage is quite preposterous; the +only thing in it which reminds one of him is the <span class="tei tei-q">“and”</span> +at the end of line 204. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Lastly, we have Hippolyta's words in the same scene: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 30.60em"><span style="font-size: 90%">Yet I think</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Did I not by the abstaining of my joy,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which breeds a deeper longing, cure their surfeit</span></div> +<span class="tei tei-pb" id="page100">[pg 100]</span><a name="Pg100" id="Pg100" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That craves a present medicine, I should pluck</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All ladies' scandal on me.</span><a id="noteref_355" name="noteref_355" href="#note_355"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">355</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Hippolyta agrees in these lines to postpone her wedding +in order that the Queens should be avenged on Creon. +No doubt the lines are crude, but Boyle goes too far with +his <span class="tei tei-q">“cloven hoof,”</span> his <span class="tei tei-q">“effluvia of social corruption,”</span> his +<span class="tei tei-q">“thick miasma.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“There is a close parallel between <span class="tei tei-hi"><span style="font-style: italic">The Two Noble +Kinsmen</span></span> and <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> in the treatment of madness.”</span><a id="noteref_356" name="noteref_356" href="#note_356"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">356</span></span></a> +I do not see much similarity between the prose +of the one play and the poetry of the other, but so far +as any exists it is due to the common ideas of the age +as to the way in which to treat the mad. <span class="tei tei-q">“The reflections +in the dialogue of Palamon and Arcite,<a id="noteref_357" name="noteref_357" href="#note_357"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">357</span></span></a> on the +corruptions of Thebes, the neglect of soldiers, the extravagance +of fashion, are allusions such as Massinger +makes to contemporary English life.”</span><a id="noteref_358" name="noteref_358" href="#note_358"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">358</span></span></a> The allusions +are such as any moralist might make, and if the rough +and immature style in which they are expressed is not +like Massinger's the argument falls to the ground. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“There are a good many expressions in common between +<span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span> and Massinger.”</span><a id="noteref_359" name="noteref_359" href="#note_359"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">359</span></span></a> This is +the really serious argument; but let me repeat that similarity +of thought and expression in isolated phrases does +not prove unity of authorship. Let us, however, look at +some of these parallels. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Reference is twice made in <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span> to +<span class="tei tei-q">“the wheaten garland”</span> of brides.<a id="noteref_360" name="noteref_360" href="#note_360"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">360</span></span></a> Massinger refers to +<span class="tei tei-q">“the garland”</span> of a bridegroom in three passages.<a id="noteref_361" name="noteref_361" href="#note_361"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">361</span></span></a> I +fail to see the connexion. Notice also that Massinger +does not use the epithet <span class="tei tei-q">“wheaten”</span> in these passages. +</p> + +<span class="tei tei-pb" id="page101">[pg 101]</span><a name="Pg101" id="Pg101" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Theseus says, <span class="tei tei-q">“Troubled I am,”</span> and turns away.<a id="noteref_362" name="noteref_362" href="#note_362"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">362</span></span></a> It +was quite natural that he should think twice before postponing +his wedding. Boyle compares a passage where +Ladislas is in uncertainty<a id="noteref_363" name="noteref_363" href="#note_363"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">363</span></span></a>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I am much troubled,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And do begin to stagger.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +People in Massinger's plays are often perplexed, and +so they are in real life. Note that Theseus ends his remark +with these words at the beginning of a line. When +Massinger's characters are in perplexity their way of expressing +themselves is quite different; it is more full and +rounded off. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Theseus says: <span class="tei tei-q">“Forward to the temple,”</span><a id="noteref_364" name="noteref_364" href="#note_364"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">364</span></span></a> being anxious +to be married. <span class="tei tei-q">“Similar words in similar situations +occur in Massinger.”</span><a id="noteref_365" name="noteref_365" href="#note_365"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">365</span></span></a> In neither case, however, is it a +bridegroom who speaks. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Two Noble Kinsmen</span></span><span style="font-size: 90%">, I., 165, 166: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">1st Queen.</span></span><span style="font-size: 90%"> And that work presents itself to th' doing;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Now 'twill take form, the heats are gone to-morrow.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Boyle says this is obscure, but can be explained by +<span class="tei tei-hi"><span style="font-style: italic">Empress of the East</span></span>: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That resolution which grows cold to-day</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Will freeze to-morrow.</span><a id="noteref_366" name="noteref_366" href="#note_366"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">366</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The thought is a familiar one; and can anyone suppose +that Massinger wrote line 165? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The expression <span class="tei tei-q">“our undertaker”</span><a id="noteref_367" name="noteref_367" href="#note_367"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">367</span></span></a> recalls a word used +by Shakspere.<a id="noteref_368" name="noteref_368" href="#note_368"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">368</span></span></a> Massinger also has it twice;<a id="noteref_369" name="noteref_369" href="#note_369"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">369</span></span></a> the parallel +is interesting, but the word was a cant political term of +Jacobean times. +</p> + +<span class="tei tei-pb" id="page102">[pg 102]</span><a name="Pg102" id="Pg102" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The fact that apes imitate is referred to in these lines:<a id="noteref_370" name="noteref_370" href="#note_370"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">370</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">'Tis in our own power—</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Unless we fear that apes can tutor's—to</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Be masters of our manners.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span> we find: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You are master of the manners and the habit,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Rather the scorn of such as would live men,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And not, like apes, with servile imitation</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Study prodigious fashions.</span><a id="noteref_371" name="noteref_371" href="#note_371"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">371</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Surely there is no need to assume common authorship +here. The imitative ape has been common property +for a long time. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A peculiarity of a sick man is referred to, thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I must no more believe thee in this point</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Than I will trust a sickly appetite,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That loathes even as it longs.</span><a id="noteref_372" name="noteref_372" href="#note_372"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">372</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> has: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">No more of Love, good father,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">It was my surfeit, and I loathe it now,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As men in fevers meat they fall sick on.</span><a id="noteref_373" name="noteref_373" href="#note_373"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">373</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The simile is a part of ordinary experience and literary +convention. You might as well argue that Massinger +wrote <span class="tei tei-hi"><span style="font-style: italic">Euphues</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The jailer's daughter leaves the scene with this remark: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">It is a holiday to look on them; Lord, the difference of men.</span><a id="noteref_374" name="noteref_374" href="#note_374"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">374</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Lidia, in <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, when Sanazarro +seems to be treating her rudely, exclaims: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Oh, the difference of natures!</span><a id="noteref_375" name="noteref_375" href="#note_375"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">375</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But she does not leave the stage. +</p> + +<span class="tei tei-pb" id="page103">[pg 103]</span><a name="Pg103" id="Pg103" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We might say: Oh, the difference of styles! In the one +case we have a rustic maiden of low birth; in the other, +a lady justly offended. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I do not deny that some of the parallels are remarkable, +but they may be due to imitation or reminiscence. Take +the words: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 30.60em"><span style="font-size: 90%">Thou, O jewel,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">O' th' wood, o' th' world, hast likewise blest a place</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With thy sole presence.</span><a id="noteref_376" name="noteref_376" href="#note_376"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">376</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span> we find: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 21.60em"><span style="font-size: 90%">And what place</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Does he now bless with his presence?</span><a id="noteref_377" name="noteref_377" href="#note_377"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">377</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The phrase is one which Massinger's courtly mind would +treasure and delight to use. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Theseus, addressing Artesius, says: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">Forth and levy</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our worthiest instruments, whilst we despatch</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This grand act of our life, this daring deed</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of fate in wedlock.</span><a id="noteref_378" name="noteref_378" href="#note_378"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">378</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Phrases like this are found in Massinger; thus in <span class="tei tei-hi"><span style="font-style: italic">The +Maid of Honour</span></span>, Roberto says of the wedding of Bertoldo +and Aurelia: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And rest assur'd that, this great work despatch'd,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You shall have audience.</span><a id="noteref_379" name="noteref_379" href="#note_379"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">379</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +They may be due to reminiscence, though it is simpler to +regard them as the current English of the day. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The strongest evidence for Boyle's theory is contained +in Palamon's invocation to Venus:<a id="noteref_380" name="noteref_380" href="#note_380"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">380</span></span></a> +</p> + +<span class="tei tei-pb" id="page104">[pg 104]</span><a name="Pg104" id="Pg104" class="tei tei-anchor"></a> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 23.40em"><span style="font-size: 90%">I never practised</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Upon man's wife, nor would the libels read</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of liberal wits; I never at great feasts</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Sought to betray a beauty.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +These words certainly remind us of Leosthenes in <span class="tei tei-hi"><span style="font-style: italic">The +Bondman</span></span>, both in thought and style: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 23.40em"><span style="font-size: 90%">Nor endeavour'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To make your blood run high at solemn feasts,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With viands that provoke; the speeding philtres;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I worked no bawds to tempt you; never practised</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The cunning and corrupting arts they study</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That wander in the wild maze of desire.</span><a id="noteref_381" name="noteref_381" href="#note_381"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">381</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I think, however, that reminiscence will suffice to +account for the parallel. The man who could write the +last line of this passage has no need to buttress up his +fame with <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>, though it is of course +conceivable that he edited it for publication in 1634. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Lastly, the method of Massinger calls for a few words. +It has been noticed by all the critics that he often repeats +himself. As is the case with Plautus the same metaphors, +thoughts, and words recur from time to time in similar +situations. It is clear that this characteristic might +help us to trace those parts of Fletcher's plays in which +Massinger collaborated. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +One or two simple instances of this fact may be quoted: +the characters in Massinger are very fond of blushing;<a id="noteref_382" name="noteref_382" href="#note_382"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">382</span></span></a> +<span class="tei tei-pb" id="page105">[pg 105]</span><a name="Pg105" id="Pg105" class="tei tei-anchor"></a> +references to the talkativeness of women are frequent;<a id="noteref_383" name="noteref_383" href="#note_383"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">383</span></span></a> +metaphors from the sea and sailing are very common;<a id="noteref_384" name="noteref_384" href="#note_384"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">384</span></span></a> +people are fond of saying that they mean to do something +but they do not know what;<a id="noteref_385" name="noteref_385" href="#note_385"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">385</span></span></a> the exact courtier kneels +and kisses the robe of a lady or her foot, and is sometimes +rebuked for doing so.<a id="noteref_386" name="noteref_386" href="#note_386"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">386</span></span></a> +</p> + +<span class="tei tei-pb" id="page106">[pg 106]</span><a name="Pg106" id="Pg106" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +As a good moralist, Massinger dislikes suicide<a id="noteref_387" name="noteref_387" href="#note_387"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">387</span></span></a> and +duelling.<a id="noteref_388" name="noteref_388" href="#note_388"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">388</span></span></a> The latter practice is referred to in his plays +as a new-fangled importation from abroad. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let us now quote some of his favourite words: references +need not be given for <span class="tei tei-q">“honour”</span>; wherever we find +<span class="tei tei-q">“atheist”</span> for a bad man,<a id="noteref_389" name="noteref_389" href="#note_389"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">389</span></span></a> or <span class="tei tei-q">“magnificent”</span> for munificent,<a id="noteref_390" name="noteref_390" href="#note_390"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">390</span></span></a> +<span class="tei tei-pb" id="page107">[pg 107]</span><a name="Pg107" id="Pg107" class="tei tei-anchor"></a> +or the Latin phrase <span class="tei tei-q">“nil ultra,”</span><a id="noteref_391" name="noteref_391" href="#note_391"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">391</span></span></a> or the Greek words +<span class="tei tei-q">“apostata”</span><a id="noteref_392" name="noteref_392" href="#note_392"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">392</span></span></a> and <span class="tei tei-q">“embryon”</span>;<a id="noteref_393" name="noteref_393" href="#note_393"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">393</span></span></a> wherever we find +<span class="tei tei-q">“frontless”</span><a id="noteref_394" name="noteref_394" href="#note_394"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">394</span></span></a> impudence and <span class="tei tei-q">“sail-stretched”</span> wings<a id="noteref_395" name="noteref_395" href="#note_395"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">395</span></span></a> and +<span class="tei tei-q">“libidinous”</span><a id="noteref_396" name="noteref_396" href="#note_396"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">396</span></span></a> Caesars; wherever the moisture of the +lips is compared to nectar,<a id="noteref_397" name="noteref_397" href="#note_397"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">397</span></span></a> wherever we read of +<span class="tei tei-q">“the centre”</span><a id="noteref_398" name="noteref_398" href="#note_398"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">398</span></span></a> or of <span class="tei tei-q">“horror,”</span><a id="noteref_399" name="noteref_399" href="#note_399"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">399</span></span></a> or of washing an +<span class="tei tei-pb" id="page108">[pg 108]</span><a name="Pg108" id="Pg108" class="tei tei-anchor"></a> +Ethiop,<a id="noteref_400" name="noteref_400" href="#note_400"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">400</span></span></a> there we are on familiar ground. Again, it +is a characteristic of Massinger, which offends some +of his readers more than others, that he is always +ready with the obvious remark. Thus, when Marrall, +after a career of tergiversation is finally kicked off the +stage, he says: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 10.80em"><span style="font-size: 90%">This is the haven</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">False servants still arrive at.</span><a id="noteref_401" name="noteref_401" href="#note_401"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">401</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, when the complications about +Paulinus' apple are getting rather serious, the Princess +Flaccilla makes the remark, which is certainly in the mind +of the reader: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All this pother for an apple!</span><a id="noteref_402" name="noteref_402" href="#note_402"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">402</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +When Leosthenes allows himself to be intolerably coarse +in his language to Cleora, we read these words: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Cleora.</span></span><span style="font-size: 90%"> You are foul-mouth'd.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Archedamus.</span></span><span style="font-size: 90%"> Ill-manner'd, too.</span><a id="noteref_403" name="noteref_403" href="#note_403"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">403</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +When Hilario seeks to amuse his mistress with an absurd +message from the front, and she observes, <span class="tei tei-q">“This is ridiculous,”</span><a id="noteref_404" name="noteref_404" href="#note_404"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">404</span></span></a> +we feel inclined to say, <span class="tei tei-q">“Not only ridiculous, but +not worth writing.”</span> When Cardenes, after lying as dead +<span class="tei tei-pb" id="page109">[pg 109]</span><a name="Pg109" id="Pg109" class="tei tei-anchor"></a> +for some time, gives signs of life, the Viceroy very justly +observes: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This care of his recovery, timely practis'd,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Would have expressed more of a father in you,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Than your impetuous clamours for revenge.</span><a id="noteref_405" name="noteref_405" href="#note_405"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">405</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It will be remembered that Shakspere had used this +device in his day. Compare <span class="tei tei-hi"><span style="font-style: italic">Richard II</span></span>: <span class="tei tei-q">“Can sick men +play so nicely with their names?”</span><a id="noteref_406" name="noteref_406" href="#note_406"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">406</span></span></a> <span class="tei tei-hi"><span style="font-style: italic">Midsummer-Night's +Dream</span></span>: <span class="tei tei-q">“Lord, what fools these mortals be!”</span><a id="noteref_407" name="noteref_407" href="#note_407"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">407</span></span></a> +<span class="tei tei-hi"><span style="font-style: italic">1 Henry VI</span></span>: <span class="tei tei-q">“Here is a silly stately style indeed!”</span><a id="noteref_408" name="noteref_408" href="#note_408"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">408</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +What impression do we get of Massinger from his +writings? He was the intimate friend and associate of +Fletcher; how far was he a man of the same stamp? +Both as a poet and a stylist Fletcher is his superior; he is +more tender and more varied; in isolated scenes he attains +a high degree of pathos. From time to time the bursts +of lovely poetry which illustrate his plays make us bow +the head as though in the presence of an enchanter. The +fifty plays which are currently associated with his name, +with all their faults, are a veritable fairyland. Again, +there is a terse piquancy about him, which expresses itself +in clear-cut, vigorous lines, such as we find rarely in our +poet. And he has a real vein of humour, which makes +one laugh heartily.<a id="noteref_409" name="noteref_409" href="#note_409"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">409</span></span></a> Nor is his direct and lucid prose +style to be despised. On the other hand, he was not a +great artist; his plots, though usually bustling, are often +improbable; his character-drawing is constantly fickle +and inconsequent. Thus, according to Boyle,<a id="noteref_410" name="noteref_410" href="#note_410"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">410</span></span></a> in <span class="tei tei-hi"><span style="font-style: italic">The +Honest Man's Fortune</span></span>, Tourneur and Massinger make +Montague a gentleman; in Act V. Fletcher destroys all +that was good in Massinger, but makes good sport for +<span class="tei tei-pb" id="page110">[pg 110]</span><a name="Pg110" id="Pg110" class="tei tei-anchor"></a> +the groundlings. He maintains that the same thing +happens to Buckingham in <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> and to Barnavelt. +Though there are many life-like characters in his works, +to whom we feel attracted, such as Leon in <span class="tei tei-hi"><span style="font-style: italic">Rule a Wife +and have a Wife</span></span> and Valerio in <span class="tei tei-hi"><span style="font-style: italic">The Wife for a Month</span></span>, they +are too often made to do improbable things. Again, as a +moralist Fletcher falls far behind Massinger. He shows +from time to time a high-flown and tainted sentimentality +which is far removed from real life. Indeed, the bad use +to which he puts his great talent is often enough to make +angels weep. He more than anyone is responsible for the +Puritan reaction; he more than anyone is responsible +for most of what was bad in the Restoration drama, +and he has had his reward. Except by the student, his +work is forgotten. It can hardly be doubted that the +death of Fletcher was a gain to Massinger in emancipating +him from the co-operation of a fascinating but unsafe +guide.<a id="noteref_411" name="noteref_411" href="#note_411"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">411</span></span></a> In standing alone he learnt to perfect all that was +best in his own gifts. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is difficult to form a clear judgment of Beaumont. +The more I read what scholars attribute to him, the more +I feel disposed to agree with Sir A. Ward that Beaumont +and Fletcher were men of the same mind and tastes. +It is plain that the author of <span class="tei tei-hi"><span style="font-style: italic">Philaster</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Maid's Tragedy</span></span>, +and <span class="tei tei-hi"><span style="font-style: italic">A King and No King</span></span> had a range of passion and pathos +beyond Massinger. <span class="tei tei-hi"><span style="font-style: italic">Philaster</span></span> is incomparable, and as we +<span class="tei tei-pb" id="page111">[pg 111]</span><a name="Pg111" id="Pg111" class="tei tei-anchor"></a> +read the other two plays we hurry on from scene to scene; +when we put the book down we are perturbed. They +have carried us away in spite of their grave faults. The +glorious nonsense of <span class="tei tei-hi"><span style="font-style: italic">The Knight of the Burning Pestle</span></span> is +equally beyond Massinger. On the other hand, such disagreeable +plays as <span class="tei tei-hi"><span style="font-style: italic">The Coxcomb</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Cupid's Revenge</span></span> do +not invite a second perusal. I do not feel that Beaumont +was cleaner in mind than Fletcher, or more balanced in +judgment. When we come to the department of metre +we seem to be on surer ground; the metre of Beaumont +has high qualities, and his decasyllabic verse reminds me +of the cold purity of a waterfall. In style his lines constantly +have a marked simplicity and directness which +anticipate Wordsworth. He can write a line in which +the words run in the order which they would have in +prose, and hence his great strength. On the other hand, +he is often careless about the length of his lines, possibly +from a love of variety. He is fond of rhyme, and introduces +prose freely into his scenes. His models appear to +have been Marlowe for metre and Ben Jonson for treatment. +He has a liking for burlesque, as witness <span class="tei tei-hi"><span style="font-style: italic">The +Knight of the Burning Pestle</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Woman-Hater</span></span>, and +Arbaces in <span class="tei tei-hi"><span style="font-style: italic">A King and No King</span></span>.<a id="noteref_412" name="noteref_412" href="#note_412"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">412</span></span></a> All this is very unlike +Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It may be asked, how does Massinger compare with +Webster? This question naturally rises in the mind at +a moment when a gifted writer, snatched from us before +his time, has left us an interesting and scholarly study of +Webster. Mr. Rupert Brooke makes no secret of his +contempt for Fletcher, and <span class="tei tei-q">“the second-rate magic”</span> +of Massinger; he regards Webster as the last of the strong +school of Elizabethan dramatists. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Are we to compare <span class="tei tei-hi"><span style="font-style: italic">Westward Ho!</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Northward Ho!</span></span>, +and <span class="tei tei-hi"><span style="font-style: italic">The Cure for a Cuckold</span></span> with <span class="tei tei-hi"><span style="font-style: italic">A New Way to pay Old +Debts</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>? They are less refined, less +<span class="tei tei-pb" id="page112">[pg 112]</span><a name="Pg112" id="Pg112" class="tei tei-anchor"></a> +skilfully constructed. The stage is more crowded, and +the characters are worse drawn. The same considerations +apply to the <span class="tei tei-hi"><span style="font-style: italic">Malcontent</span></span><a id="noteref_413" name="noteref_413" href="#note_413"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">413</span></span></a> and <span class="tei tei-hi"><span style="font-style: italic">The Devil's Law-case</span></span>. +Mr. Brooke practically allows that he means by Webster, +<span class="tei tei-hi"><span style="font-style: italic">The White Devil</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Duchess of Malfi</span></span>, and these plays +alone. Let it be said at once that it is an ungrateful +task to magnify one poet at the expense of another. +We allow that in these two plays Webster comes nearer +to Shakspere than any of his compeers. He has a great, +a subtle, a well-stored mind; he produces isolated tragic +effects of the most poignant kind; he is a master of atmosphere; +he plays with the feelings of his auditors; he can +dazzle them by <span class="tei tei-q">“his miraculous touches of poetic beauty.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On the other hand, he is not a clear thinker, nor are +his plays skilfully planned. I should imagine that they +read better than they act. For instance, the scene in +<span class="tei tei-hi"><span style="font-style: italic">The Duchess of Malfi</span></span>, where Ferdinand gives the heroine +the dead hand, fills us with horror. I doubt if it would +be effective on the stage. Webster's rhymes are poor, +and his prose worse than Massinger's. Sir Sidney Lee<a id="noteref_414" name="noteref_414" href="#note_414"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">414</span></span></a> +says his blank verse is <span class="tei tei-q">“vigorous and musical”</span>; to me +it seems too often ragged and halting. But the chief +objection to Webster is that he lives in <span class="tei tei-q">“a world of repulsive +themes and fantastic crimes.”</span> He revels in the +sinister suggestions aroused by skulls, dead hands, ghosts, +echoes, and madmen. His mind was morbid, and his successes +are like lightning flashes of splendid power piercing +a gloomy and sullen background. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The fact that he was not a productive writer may weigh +less with some critics than with others; more important +is it to remember that Massinger's plays held the stage +much longer than Webster's. This fact may fairly be +taken to prove the appeal which the former has successfully +<span class="tei tei-pb" id="page113">[pg 113]</span><a name="Pg113" id="Pg113" class="tei tei-anchor"></a> +made to the human heart. Webster, in short, compared +with Shakspere, reminds us somewhat of the contrast +between Mantegna and Raphael. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In one or two respects Webster has affinities with Massinger. +Both frequently imitate Shakspere; and both +repeat themselves continually, though in different ways. +Whereas Massinger used the same vocabulary and terms +of thought again and again, Webster quotes whole sentences +from one of his plays in another, as if he felt, like +some of the Greek writers of antiquity, that when he had +said a thing as it should be said, he had the right to use it +again.<a id="noteref_415" name="noteref_415" href="#note_415"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">415</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is difficult to compare Massinger with Ben Jonson: +both wrote Roman plays and domestic comedies; but +Ben Jonson has at once a greater mind and a wider range +of experiment. He was a learned man, a great figure +in society, the dictator of a circle of wits, the centre of +many friendships and enmities. He would probably +regard Massinger as a pale-featured, gentle hack. We +know more about his full-blooded personality than about +any other writer of the period, and while there is much in +him to offend, there is more to inspire our respect. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Our immediate object is to compare the two writers +as dramatists. It is at once clear that they work on different +lines. Massinger is a follower of Shakspere and +Fletcher, though we can trace in some of his tragedies +the influence of Webster and Tourneur. In his comedies, +we see some approximation to Ben Jonson; it is instructive +to compare <span class="tei tei-hi"><span style="font-style: italic">Eastward Ho!</span></span> with <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>. A +fundamental difference of method is at once seen; Massinger +deliberately eschews the use of prose. It must at +once be conceded that he has left nothing on so colossal +a scale as <span class="tei tei-hi"><span style="font-style: italic">Every Man in his Humour</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Volpone</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Epicoene</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Alchemist</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">Bartholomew Fair</span></span>. Here we find +skilful plot, masterly characterization, and ludicrous combinations. +<span class="tei tei-pb" id="page114">[pg 114]</span><a name="Pg114" id="Pg114" class="tei tei-anchor"></a> +How heartily we laugh over the Plautine +scene before Cob's house in <span class="tei tei-hi"><span style="font-style: italic">Every Man in his Humour</span></span>,<a id="noteref_416" name="noteref_416" href="#note_416"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">416</span></span></a> +or at the intrusion of unbidden guests at Morose's wedding, +or at the deception practised on the two knights in +the gallery.<a id="noteref_417" name="noteref_417" href="#note_417"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">417</span></span></a> How dazzled we are with the kaleidoscopic +<span class="tei tei-q">“vapours”</span> of the great Fair. On the other hand, in what +Dryden calls the <span class="tei tei-q">“dotages,”</span> we find a great falling off. +Ben Jonson can be very dull. Still even in <span class="tei tei-hi"><span style="font-style: italic">The Devil is an +Ass</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Staple of News</span></span> there is a vein of original fancy, +which reminds us that we are dealing with no imitator, +but with an original and poetical mind. Nor must we +forget the splendid series of Masques, into which Ben +Jonson put some of his best work; to this Massinger has +but little to oppose. And then, as we all know, Ben +Jonson bursts out from time to time with a great lyric, +whereas Massinger's songs are commonplace. Lastly, in +<span class="tei tei-hi"><span style="font-style: italic">The Case is Altered</span></span>, we have a plot in the manner of Fletcher +which is so successful as to make us regret that Jonson +did not try this type of play again. Though it has not +the atmosphere of Massinger, it has something of the +mellow graciousness at which he, like Fletcher, aimed. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It would be silly to deny Jonson's superiority of intellect, +and of attainment when at his best. His faults +are, however, very serious. Though he can draw a man +of good breeding, his women are very ordinary. He is +too fond of incorporating long passages from the classical +authors whom he knew so well; he would have been +more attractive if he had used Aristophanes and Plautus, +Ovid and Libanius, as inspirations rather than as materials. +The notes on Sejanus are a liberal education, but after +all, <span class="tei tei-q">“the play's the thing.”</span> The use of <span class="tei tei-q">“humour”</span> and +<span class="tei tei-q">“vapours,”</span> though at first brilliant and captivating, even +becomes artificial and tedious; no one is the embodiment +of one passion or weakness. Let us be thankful that +human nature is not so simple or consistent, for in that +case it would cease to interest. More serious still, Jonson +<span class="tei tei-pb" id="page115">[pg 115]</span><a name="Pg115" id="Pg115" class="tei tei-anchor"></a> +has no sense of proportion; we read Knowell's soliloquy +in <span class="tei tei-hi"><span style="font-style: italic">Every Man in his Humour</span></span>,<a id="noteref_418" name="noteref_418" href="#note_418"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">418</span></span></a> and we say, <span class="tei tei-q">“Fine! but too +long”</span>; and we say this again and again as we read his +works. The great length of the fifth act of Sejanus is a +good instance of this fault. Indeed, it is impossible that +the play was acted in the form which we now have—it +would have emptied the house, like Burke's speeches. +When Jonson gets on to some subject of which he knows +the technical terms, such as <span class="tei tei-q">“fucuses”</span><a id="noteref_419" name="noteref_419" href="#note_419"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">419</span></span></a> or <span class="tei tei-q">“alchemy,”</span> +he is almost as tedious as Kipling's Macandrew. His +plots are at times too skilful; thus, even Brainworm in +time gets on our nerves. His coarseness is that of a +common soldier, and his puns are bad. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Are there any points of contact between the two +authors? I do not wish to suggest that Massinger owed +nothing to the older writer, though parallels of diction +may mean little but the simultaneous use of the idioms +of the day. Thus in <span class="tei tei-hi"><span style="font-style: italic">The Staple of News</span></span> we find, <span class="tei tei-q">“I do +write man,”</span><a id="noteref_420" name="noteref_420" href="#note_420"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">420</span></span></a> <span class="tei tei-q">“blacks,”</span><a id="noteref_421" name="noteref_421" href="#note_421"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">421</span></span></a> <span class="tei tei-q">“kiss close,”</span><a id="noteref_422" name="noteref_422" href="#note_422"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">422</span></span></a> <span class="tei tei-q">“nectar,”</span><a id="noteref_423" name="noteref_423" href="#note_423"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">423</span></span></a> +<span class="tei tei-q">“magnificent”</span><a id="noteref_424" name="noteref_424" href="#note_424"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">424</span></span></a>; tossing in a blanket is referred to,<a id="noteref_425" name="noteref_425" href="#note_425"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">425</span></span></a> +and the saints<a id="noteref_426" name="noteref_426" href="#note_426"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">426</span></span></a> at Amsterdam, while the cook's fortifications<a id="noteref_427" name="noteref_427" href="#note_427"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">427</span></span></a> +remind us of a passage in <span class="tei tei-hi"><span style="font-style: italic">A New Way to pay Old +Debts</span></span>. In Sejanus we find <span class="tei tei-q">“passive fortitude”</span> commended.<a id="noteref_428" name="noteref_428" href="#note_428"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">428</span></span></a> +<span class="tei tei-q">“He puts them to their whisper,”</span><a id="noteref_429" name="noteref_429" href="#note_429"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">429</span></span></a> reminds us +<span class="tei tei-pb" id="page116">[pg 116]</span><a name="Pg116" id="Pg116" class="tei tei-anchor"></a> +of <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>. Sejanus' change of temper to his +satellites<a id="noteref_430" name="noteref_430" href="#note_430"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">430</span></span></a> when he fancies danger is past resembles that +of Domitian in the same play. <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span> has +touches of plot and style which recall Volpone. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There is, however, little contact between Ben Jonson +and Massinger. Their births were separated by only ten +years, but a much longer period than that seems to divide +them. Friend of the great as he was, Ben Jonson was yet +an Aristophanic, nay, a Rabelaisian democrat; Massinger +is a gentleman and a courtier. The one has the vigour +and immaturity of the Elizabethan age, and in him we +feel in contact with the obsolete Mystery and Morality +plays;<a id="noteref_431" name="noteref_431" href="#note_431"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">431</span></span></a> the other has the refinement and romance of the +Caroline era. The one is a powerful satirist and a pugnacious +fighter; the other lives in an ideal world. On the +one side is <span class="tei tei-foreign"><span style="font-style: italic">vis consili expers</span></span>; on the other, a more limited +intellect with a surer artistic sense. If I may venture to +say so, they differ from one another as an apple from a +pear. I do not deny that Ben Jonson was the greater +man, but I find him more archaic and more difficult to +read than Massinger. Much of the interest of his plays +is dead for us, his local colour and topical allusions, which +require so many notes, are more tedious; his personal +likes and dislikes, his egotism, his vanity, are wearisome; +and though his blank verse is strong and manly, +it is not so melodious as Massinger's. The older man +stands foursquare and solitary; the younger man reaches +forward to posterity, and we feel him to be linked by his +art and grace to ourselves. Though Dryden never +mentions Massinger, there is a dignified capacity which +is common to the two authors. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger's chief rival in the latter part of his life was +Shirley. Shirley's plays are full of interest; his graceful +<span class="tei tei-pb" id="page117">[pg 117]</span><a name="Pg117" id="Pg117" class="tei tei-anchor"></a> +style rises occasionally into poetry, at which the author +himself seems to smile; his plots are full of ingenious +turns; his female characters are more confidently developed +than Massinger's, nor is he unable to draw a +lifelike man, as we see from Lorenzo in <span class="tei tei-hi"><span style="font-style: italic">The Traitor</span></span> and +Columbo in <span class="tei tei-hi"><span style="font-style: italic">The Cardinal</span></span>. He excels in the battledore +and shuttlecock of love-making; he tells us far more of +the manner of well-bred contemporary society than Massinger. +Indeed, it is probable that he had a greater success +in his day than his rival, and was more in touch with +Court circles, though even the loyal Shirley discreetly +satirizes from time to time the government of Charles I. +He is not devoid of humour and epigram; his dialogue is +light and sprightly. He reaches back to Fletcher and forward +to Dryden; we seem, as we read his plays, to be a +long way removed from the labour of Jonson, the pomp +of Chapman, the vernal simplicity of Heywood. On the +other hand, we miss in him the breadth and strength, +the dignity, the nobility, and the fire of Massinger. He is +more of a photographer than a painter. Though his style +has eloquence, the thought is often far from clear, and the +long sentences are clumsy. There is something slight +and unsubstantial about the whole thing, while the metre +is continually careless and lame. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In assigning Massinger's place in the drama of his age, +we have to remember that the period falls into two well-defined +parts. He has very little in common with Marlowe, +Greene, and Peele, and still less with the charming +Dresden china of Lyly. Marlowe's generation breathes +the freshness and vehemence of the spring, while Massinger +reflects the silver lights of September. So rapid +was the development of fifty years, that to pass from the +one to the other is like going from the lancet windows of +Salisbury Cathedral to the tracery of William of Wykeham. +While we miss the purity and simplicity of Early English, +it would be foolish to ignore the strength of design and +proportion that maturity and experience brought. The +<span class="tei tei-pb" id="page118">[pg 118]</span><a name="Pg118" id="Pg118" class="tei tei-anchor"></a> +towers and battlements, the lierne vaulting, the large +windows, and generous clerestories of Perpendicular do +much to atone for the spiritless detail and mechanical +wall-panelling. A similar consideration applies to the +Jacobean dramatists when compared with their Elizabethan +predecessors. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Shall I be thought presumptuous in setting Massinger +against Shakspere? The attempt may, at any rate, help +to elicit a true estimate; the suggestion has often been +made before. Shakspere seems to have been from his +writings a man of great receptivity, unerring knowledge +of human nature, profound wisdom, and infinite sweetness, +the master of all the arts which we associate with a +good poet. Massinger reminds us of Ben Jonson, though +he is less consciously clever, less cumbered with learning, +less combative.<a id="noteref_432" name="noteref_432" href="#note_432"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">432</span></span></a> He is modest,<a id="noteref_433" name="noteref_433" href="#note_433"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">433</span></span></a> manly, lucid, sane, and +<span class="tei tei-pb" id="page119">[pg 119]</span><a name="Pg119" id="Pg119" class="tei tei-anchor"></a> +sensible, capable of just indignation, one who respects +himself, a faithful friend,<a id="noteref_434" name="noteref_434" href="#note_434"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">434</span></span></a> and a wide reader; he knows a +gentleman when he sees him; he can pay compliments +with good breeding; he has had his ups and downs in life;<a id="noteref_435" name="noteref_435" href="#note_435"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">435</span></span></a> +he is one who understood men better than women, and +who, like Sir Thomas Browne, <span class="tei tei-q">“loved a soldier”</span>;<a id="noteref_436" name="noteref_436" href="#note_436"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">436</span></span></a> a +vigorous and business-like artist, he is never worsted by +his theme, but makes it lifelike and interesting, with an +unerring instinct for what is effective on the stage, his +very faults being largely due to this useful knowledge. +That there was a strain of noble melancholy in his mind +can hardly be denied.<a id="noteref_437" name="noteref_437" href="#note_437"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">437</span></span></a> The character which seems to me +to embody Massinger himself is Charalois in <span class="tei tei-hi"><span style="font-style: italic">The Fatal +</span><span class="tei tei-pb" id="page120">[pg 120]</span><a name="Pg120" id="Pg120" class="tei tei-anchor"></a><span style="font-style: italic"> +Dowry</span></span>. Whether he was musical I should doubt after +the perfunctory reference to the art in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>.<a id="noteref_438" name="noteref_438" href="#note_438"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">438</span></span></a> +We find nothing in his plays like the famous idyllic description +in Ford's <span class="tei tei-hi"><span style="font-style: italic">Lover's Melancholy</span></span>.<a id="noteref_439" name="noteref_439" href="#note_439"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">439</span></span></a> On the other hand, +he knew that vocal and instrumental music were effective +in a play; we need go no farther than the end of Act +IV. in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span> for proof of this.<a id="noteref_440" name="noteref_440" href="#note_440"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">440</span></span></a> And Cario +uses the terms of music with great precision in <span class="tei tei-hi"><span style="font-style: italic">The +Guardian</span></span>.<a id="noteref_441" name="noteref_441" href="#note_441"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">441</span></span></a> On the whole we get the impression that he +was an example of a rare combination, modesty with +independence of mind, a fact which, considering what the +circumstances of the literary life then were, is quite +enough to explain the hard struggle he seems to have +undergone. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It may be said that I am comparing a mighty genius +with a second-rate intellect. Are there any points in +which Massinger can hold his own against Shakspere? +Granted that he falls short in passion, imagination,<a id="noteref_442" name="noteref_442" href="#note_442"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">442</span></span></a> wit, +diction, rhythm, lyric rapture, where does he shine? +</p> + +<span class="tei tei-pb" id="page121">[pg 121]</span><a name="Pg121" id="Pg121" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It may at first hearing sound snobbish to point out that +he was a University man, but a good deal of truth lies +hidden in that simple phrase. Shakspere's plays are +marked by many faults of construction, taste, and detail; +he who never blotted a line should certainly, as Ben +Jonson remarked, have blotted a good many. It always +seems to me that this is a line of thought which is too +much ignored by those who believe that Shakspere wrote +his own plays, and that Bacon had nothing to do with +them. The Baco-Shaksperians point, and very justly, to +the surprising knowledge and culture shown in the plays; +they refuse to believe that all this can have come from +the brain of a Warwickshire rustic, forgetting the faults +which are so glaring, faults which are precisely those which +a learned and accurate scholar like Bacon would have +avoided. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Now Massinger is a correct and artistic writer. The +little tricks of style which were so dear to his mighty +predecessor, the pun, the alliteration,<a id="noteref_443" name="noteref_443" href="#note_443"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">443</span></span></a> the conceit, +the verbal quibble,<a id="noteref_444" name="noteref_444" href="#note_444"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">444</span></span></a> are far less obtrusive; he is free from +<span class="tei tei-pb" id="page122">[pg 122]</span><a name="Pg122" id="Pg122" class="tei tei-anchor"></a> +that affectation and precious obscurity which are so +marked in Shakspere's later style. And one small point +may be noticed in passing here, as an indication of good +breeding: the characters in Massinger very seldom address +one another by name. It is significant that Greedy and +Overreach both offend in this way.<a id="noteref_445" name="noteref_445" href="#note_445"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">445</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Though it is true that these faults were common to the +age, they are so marked in Shakspere that it is impossible +to ignore them in any estimate of the man. In the +details of style, then, Massinger can claim credit for +being more correct. In a word, what he lacks in genius +and poetry he supplies to a certain extent by good taste +and education. He shares this advantage with his age, +which was learning to correct the errors of the past; the +English language was advancing rapidly to more maturity +and balance than it had in the previous generation. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I have already pointed out the careful study of Shakspere +which we find in Massinger, and the copious use of +his imperial vocabulary. When we take into account +all the elements of the problem, when we make allowance +for quantity of work done, as well as for quality, would it +be too much to say that Massinger is as the pupil to the +master, and that, though separated by <span class="tei tei-q">“a long interval,”</span> +he comes second?<a id="noteref_446" name="noteref_446" href="#note_446"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">446</span></span></a> This may seem a hard saying, +<span class="tei tei-pb" id="page123">[pg 123]</span><a name="Pg123" id="Pg123" class="tei tei-anchor"></a> +unless it is explained. I allow that Ben Jonson had +a greater intellect; that Beaumont and Fletcher had +more genius, more pathos, more humour; that Marlowe, +Webster, and Ford, each in his own way, were greater +poets. I put Massinger next to Shakspere as a dramatist +pure and simple, because his best work is well-constructed +and interesting, his style and metre entrancing, his atmosphere +charming and easy, yet ideal, his morality mature +and sane. And in praising his morality, I do not lay +stress on the benefits to be derived from the use of his plays +as a school-book, though that consideration is not to be +despised but rather maintain that in avoiding abnormal, +tainted, and morbid themes he is in advance of his age; +consequently he is easier for us to read and understand +than other writers whose gifts were greater than his; +he makes a successful and enduring appeal to the <span class="tei tei-foreign"><span style="font-style: italic">communis +sensus</span></span> of mankind. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I now proceed to a short critical estimate of Massinger's +plays. The most famous are <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span> +in tragedy, and <span class="tei tei-hi"><span style="font-style: italic">A New Way to pay Old Debts</span></span> in comedy. +Opinions have differed strangely about <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>. +It went through four editions in quarto in the seventeenth +century, a fact which testifies to its immediate popularity. +Davies<a id="noteref_447" name="noteref_447" href="#note_447"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">447</span></span></a> considered it far inferior to any of his +other productions, and Mason was equally severe. Even +Hallam confessed that parts of it were far from pleasing. +There can be no doubt that these parts of the play, which +the critics now unanimously ascribe to Dekker, are responsible +for giving Massinger a bad name for coarseness. +It is hard to carry supernatural machinery through, as +Fletcher's <span class="tei tei-hi"><span style="font-style: italic">Prophetess</span></span> shows, and we have here an Angel, +and a Devil, but they are on the whole managed successfully. +The first act is admirably proportioned; the fourth +and fifth also are masterly. There are a thrill and a +glamour in the style of this play unlike anything else in +Massinger, due perhaps to the religious problem dealt +<span class="tei tei-pb" id="page124">[pg 124]</span><a name="Pg124" id="Pg124" class="tei tei-anchor"></a> +with.<a id="noteref_448" name="noteref_448" href="#note_448"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">448</span></span></a> The only fault of Dorothea is that, like other good +people, she is a bad judge of character. It gives us a +shock to find Spungius and Hircius members of her +household, and at least we feel she should not have put +her charities in their hands, but should have attended to +the poor herself.<a id="noteref_449" name="noteref_449" href="#note_449"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">449</span></span></a> The Princess Artemia is a type common +in Massinger.<a id="noteref_450" name="noteref_450" href="#note_450"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">450</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">A New Way to pay Old Debts</span></span> we have an ingenious +plot which never flags, adequate comedy, and characters +which are appropriately, if not very carefully, drawn. +The style is strong and natural; it is not far from this play +to Goldsmith, and indeed the eighteenth century must +have owed much to it. In its atmosphere of ease and +propriety there are no harsh lights or discordant tints. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The central idea of the plot was probably borrowed +from a play of admirable vivacity and dexterity, Middleton's +<span class="tei tei-hi"><span style="font-style: italic">Trick to catch the Old One</span></span>, which appeared in 1607. +What has Massinger added to Middleton? He has made +the plot more probable, refining the characters, and +raising the whole thing from prose to poetry. We laugh +less, but we admire more, for we feel that we are seeing +something transacted which might have happened. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Sir Giles Overreach is Massinger's masterpiece, a +superman of colossal wickedness, with no belief in the +honour or virtue of men or women.<a id="noteref_451" name="noteref_451" href="#note_451"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">451</span></span></a> Though fond of +<span class="tei tei-pb" id="page125">[pg 125]</span><a name="Pg125" id="Pg125" class="tei tei-anchor"></a> +money, he is not a miser, but loves to lavish his gains; +power is rather his foible; repeated success has made him +reckless; his aim is to increase his estates by bullying +his poorer neighbours, and by employing the sharp practices +of the law. But he has yet one other ambition, to +see his only daughter married to a lord and to hear her +styled <span class="tei tei-q">“Right Honourable.”</span> His unscrupulousness is expressed +in often-quoted passages of great power; his frantic +anger in the fifth act is depicted with a skill which leaves +no sympathy in our minds for a father whose only daughter +has treated him badly. Here Massinger is more successful +than his great model in the case of Shylock and Jessica. +I cannot agree that it is inconsistent with the character +of Sir Giles that he should be anxious for his daughter +to marry a lord—there are several passages in the earlier +part of the play which show that he is not only a bully +but a base-born snob.<a id="noteref_452" name="noteref_452" href="#note_452"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">452</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Where so much is admirable it is difficult to make +selection, but we may point out that Wellborn's character +is a fine piece of work; we pity his disgrace, we rejoice +in his success, we believe in his desire to do better +in the future. The grief of Lady Allworth for her husband +and the jealous fears of young Allworth when Lord +Lovell is to meet Margaret are excellently drawn. There +are, moreover, touches of poetry in the play of a high +order, as, for instance: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Allworth.</span></span><span style="font-size: 90%"> If ever</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The queen of flowers, the glory of the spring,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The sweetest comfort to our smell, the rose,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Sprang from an envious briar, I may infer,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">There's such disparity in their conditions,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Between the goodness of my soul, the daughter,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And the base churl, her father.</span><a id="noteref_453" name="noteref_453" href="#note_453"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">453</span></span></a></div> +</div> +</div> + +<span class="tei tei-pb" id="page126">[pg 126]</span><a name="Pg126" id="Pg126" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or in Allworth's speech about his love: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Add this too; when you feel her touch, and breath</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Like a soft western wind, when it glides o'er</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Arabia, creating gums and spices;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And in the van, the nectar of her lips,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which you must taste, bring the battalia on,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Well-arm'd, and strongly lined with her discourse,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And knowing manners, to give entertainment;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Hippolytus himself would leave Diana,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To follow such a Venus.</span><a id="noteref_454" name="noteref_454" href="#note_454"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">454</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The play which Massinger himself at one time esteemed +the most highly was <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>,<a id="noteref_455" name="noteref_455" href="#note_455"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">455</span></span></a> but we have to +remember that much of his best work was done after 1626, +the date of the play. <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>, though most +admirable, is strong and hard rather than inspired. More +than any other of his works it shows us an element of +greatness in the author's mind, which reveals itself in +many ways; in the attractive and noble character of +Paris, in the mastery shown in dealing with a Roman +theme, the local colour of which is put on with a light +and yet sure hand, in the skill with which the story is invested +with the atmosphere of tyranny, in the breathless +interest with which we follow the last moments of Domitian +in Act V., in the dexterity with which three smaller +plays are introduced into the action without in the least +confusing the construction. In making an actor the hero +of the play, and in giving him so many opportunities of +showing his art, Massinger no doubt felt every confidence +in the genius of J. Taylor, but perhaps the chief charm of +the play is due to the reflection which it inspires in the +mind of the reader, that it expresses with fire and conviction +the struggling author's high ideal for the theatre +as a social institution, and his esteem for actors. On the +other hand, there is little comic relief, and little female +<span class="tei tei-pb" id="page127">[pg 127]</span><a name="Pg127" id="Pg127" class="tei tei-anchor"></a> +interest beyond the infatuation of the Empress. Indeed, +the women who take part in the play are one and all unattractive, +and though it might be fairly urged that they +are probably adequate portraits of the originals, we cannot +help feeling that the author ought to have seen that +they were timid sketches. In other words, we are face to +face here with an acknowledged limitation of Massinger's +art. Nor should it be forgotten that while the play is +full of noble and even impassioned rhetoric,<a id="noteref_456" name="noteref_456" href="#note_456"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">456</span></span></a> there are one +or two prosy passages<a id="noteref_457" name="noteref_457" href="#note_457"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">457</span></span></a> and several small improbabilities.<a id="noteref_458" name="noteref_458" href="#note_458"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">458</span></span></a> +In the third of the inserted plays Domitian, taking the +part of an actor, avenges himself on Paris. This device by +which characters in a play avenge themselves by taking +parts in a subordinate play, occurs in the famous <span class="tei tei-hi"><span style="font-style: italic">Spanish +Tragedy</span></span> of Kyd, and in Middleton's <span class="tei tei-hi"><span style="font-style: italic">Women, beware +Women</span></span>. Most successful of all is the splendid climax of +Act IV., where we have the clash of interest required by +the highest form of tragedy; we sympathize with Paris, +and yet we feel that the Emperor, who has been wronged, +must avenge himself signally and at once. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is the tragi-comedies which give me the most pleasure, +the romantic plays with a happy ending, such as +<span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The +Bashful Lover</span></span> (the last of Massinger's plays which we +possess), <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>; closely allied with these is <span class="tei tei-hi"><span style="font-style: italic">The +Maid of Honour</span></span>. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span> is full of +<span class="tei tei-pb" id="page128">[pg 128]</span><a name="Pg128" id="Pg128" class="tei tei-anchor"></a> +courtesy and grace; there are some charming passages +of poetry, and the metre is liquid and easy. The whole +play is bathed in the sunshine of youth, and while there +is some good comedy in it, there is little for the expurgator +to do. The characters are all drawn with skill and propriety, +especially the Duke, the Duchess of Urbin, and +Lidia. Petronella in disguise is Massinger's best comic +creation. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, with a trivial plot and some +improbability in details, there is much admirable work, +especially at the beginning. The two courtiers get to the +point at once, mentioning Pulcheria in I., 1, 10. It was +a play at which the author worked hard, and of which he +thought highly.<a id="noteref_459" name="noteref_459" href="#note_459"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">459</span></span></a> The two good women, the sister and the +wife, are well drawn, and we understand how natural it +is that they should be antipathetic; we welcome the allowance +they make for one another,<a id="noteref_460" name="noteref_460" href="#note_460"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">460</span></span></a> we sympathize with the +humiliation of each in her turn, and we rejoice in their +reconciliation. Especially pleasing are the gentle dignity +of Eudocia in III., 4, and her slowness to take up Chrysapius' +suggestion in IV., 1. The Emperor is not an attractive +character, as he is at once weak and violent; but we +have to remember that he is very young, and also that he +has been kept in leading-strings all the earlier part of his +life. I should like to believe, with many critics, that the +prose scene, in which the Empiric figures, is not due to +Massinger. It is a study in the manner of Ben Jonson. +Another touch of the older master is <span class="tei tei-q">“The Projector,”</span><a id="noteref_461" name="noteref_461" href="#note_461"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">461</span></span></a> who +is, however, on very much fainter lines than Meercroft in +<span class="tei tei-hi"><span style="font-style: italic">The Devil is an Ass</span></span>. Imitation of Shakspere is prominent +in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>. Scenes I., 1, and III., 1, remind +us of Henry VIII's courtiers. The pictures in Act II. +<span class="tei tei-pb" id="page129">[pg 129]</span><a name="Pg129" id="Pg129" class="tei tei-anchor"></a> +seem to be suggested by a similar scene in <span class="tei tei-hi"><span style="font-style: italic">The Merchant +of Venice</span></span>. Act IV., 5 recalls <span class="tei tei-hi"><span style="font-style: italic">Othello</span></span>, III., 4; Act V., 2, +105-8 is modelled on <span class="tei tei-hi"><span style="font-style: italic">Othello</span></span> III., 3, 330-3.<a id="noteref_462" name="noteref_462" href="#note_462"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">462</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> or <span class="tei tei-hi"><span style="font-style: italic">The Prince of Tarent</span></span> is based, as +the Prologue tells us, on an old play; the author's modesty +cannot forbear saying that, good as it was before, it is +<span class="tei tei-q">“much better'd now.”</span> By this he probably means that +substantial additions have been made, that the plot has +been put into better shape,<a id="noteref_463" name="noteref_463" href="#note_463"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">463</span></span></a> and that perhaps the comic +element is cut down. Boyle assigns about two-fifths of +the play to Massinger, including the quarrel between +Cardenes and Antonio, and the great love scene between +Antonio and Almira, but excluding the careful treatment +of Cardenes' melancholy by Paulo the doctor.<a id="noteref_464" name="noteref_464" href="#note_464"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">464</span></span></a> I should +myself unhesitatingly assign the latter scene to Massinger. +The only scenes which can be safely attributed to Fletcher +are those of the slave-market,<a id="noteref_465" name="noteref_465" href="#note_465"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">465</span></span></a> and that where Leonora +seeks to console Almira.<a id="noteref_466" name="noteref_466" href="#note_466"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">466</span></span></a> The sprightly vivacity of +the former and the tenderness of the latter are good +evidence for this assignation. A perusal of this admirable +masterpiece leads us to the conclusion that if Massinger, +instead of collaborating with Fletcher, had rewritten the +plays of the latter, our literature would have been greatly +enriched. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I would not deny that a man may have several styles, +and may write in the manner of another; especially is this +possible when the other has been his bosom friend. Still +there are a grace and delicacy about <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> which +seem to suggest the hand of Fletcher. The characters +are drawn with great refinement and vividness. There +is a pair of devoted friends, Antonio and Pedro, and over +against them two charming ladies, Leonora and Almira, +<span class="tei tei-pb" id="page130">[pg 130]</span><a name="Pg130" id="Pg130" class="tei tei-anchor"></a> +the former at once sensible and kind, the latter almost +worthy of a place beside Shakspere's heroines. The great +love scene, though suggested by Desdemona and Othello, +is not unworthy of Shakspere himself.<a id="noteref_467" name="noteref_467" href="#note_467"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">467</span></span></a> Cuculo is an +amusing study of the old courtier, such as we get elsewhere +in Massinger. Borachia, the lady who loves wine, is +drawn with a lighter hand than Massinger's; yet I feel +that Fletcher, unassisted or unpruned, would have made +the scenes in which she appears grosser than they are. +Antonio, the Prince of Tarent, reminds us of a clean-limbed, +honest English public-school boy; he is slow to +take offence, but brave when provoked, sorry for the mischance +of which he is the innocent cause, courteous, and +ready on all occasions. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The plot has been shaped with great attention to detail. +Thus, when Antonio, disguised as a slave, first meets his +friend Pedro, his master Cuculo does not allow him to +speak,<a id="noteref_468" name="noteref_468" href="#note_468"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">468</span></span></a> so that Pedro has no chance of identifying him +by his voice. Later on, however, Pedro has an intuition +that the slave is other than he seems to be: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">I do see something in this fellow's face still</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">That ties my heart fast to him.</span><span style="font-size: 90%">”</span></span><a id="noteref_469" name="noteref_469" href="#note_469"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">469</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +He treats him as a friend, as though his intuition pierced +through the external disguise,<a id="noteref_470" name="noteref_470" href="#note_470"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">470</span></span></a> and when the recognition +takes place he naturally remarks: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">Have I not just cause,</span></span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When I consider how I could be so stupid,</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">As not to see a friend through all disguises.</span><span style="font-size: 90%">”</span></span><a id="noteref_471" name="noteref_471" href="#note_471"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">471</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Again, we have an indication at the end of the slave-market +scene that the slave who followed Paulo will be +an important link in the plot: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Paulo.</span></span><span style="font-size: 90%"> Follow me, then;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The knave may teach me something.</span></div> +</div> + +<span class="tei tei-pb" id="page131">[pg 131]</span><a name="Pg131" id="Pg131" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Slave.</span></span><span style="font-size: 90%"> Something that</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You dearly may repent; howe'er you scorn me,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The slave may prove your master.</span><a id="noteref_472" name="noteref_472" href="#note_472"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">472</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is this slave who leads the pirates in their attempt to +carry off Leonora and Almira. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +When Antonio appears in his former dress<a id="noteref_473" name="noteref_473" href="#note_473"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">473</span></span></a> we ask, how +did he get it? The answer is, from the Captain, his fellow-slave, +whose life he had saved in the past by interceding +with the Viceroy.<a id="noteref_474" name="noteref_474" href="#note_474"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">474</span></span></a> Lastly, the Duke's reference (V., 2, +130) to the advice which the Viceroy had given him in +II., 2, is one of those careful touches making for unity +of design in which Massinger delights.<a id="noteref_475" name="noteref_475" href="#note_475"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">475</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +No doubt the plot is not free from improbabilities; in +real life Antonio would have revealed himself to Pedro, +and Pedro and Almira would both have recognized him. +We have already seen that Massinger is so fond of a story +that he sometimes forgets to let his characters guide it. +To round off the play harmoniously, Antonio should have +had a soliloquy, to explain to the audience who he was, +to lament over the change of his fortunes, to express a +hope that all would come right in the end, to reassert his +devotion to Pedro, and to protest his loyalty in spite of +everything to Almira. Perhaps something of the sort +was cut out. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span> is the last play of <span class="tei tei-q">“the strange old +fellow”</span><a id="noteref_476" name="noteref_476" href="#note_476"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">476</span></span></a> that we possess; it reminds us in several respects +of Fletcher; in the romantic atmosphere,<a id="noteref_477" name="noteref_477" href="#note_477"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">477</span></span></a> the overwrought +devotion of the hero, the bustling action and the +complexity of the plot, and in a metrical detail.<a id="noteref_478" name="noteref_478" href="#note_478"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">478</span></span></a> On the +<span class="tei tei-pb" id="page132">[pg 132]</span><a name="Pg132" id="Pg132" class="tei tei-anchor"></a> +other hand, the smooth and careful construction, the subordination +of the comedy, the constant use of parentheses, +and, above all, the vacillations of the violent Lorenzo, +are characteristics of Massinger. There are many noble +personages in the play, and considerable tenderness. +Matilda's character is drawn well at the start; in the latter +part she rather tends to become a lay figure. A princess +with three aspirants to her hand, of whom two are princes, +while the one she loves is to all appearance of lowly birth, +is awkwardly placed. The same fault, as Boyle points out,<a id="noteref_479" name="noteref_479" href="#note_479"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">479</span></span></a> +might be found with the hero, Hortensio; the fact is that +the story rather carries the characters along in its sweep +than is developed by them; moreover, Massinger seems +in the last two acts to be more interested in the psychological +study of Lorenzo's emotions than in his hero's +fortunes. With all its beauties, the play betrays the advancing +years of the author by a certain heaviness of touch, +although the episode of Ascanio, the disguised page, is +carried through with great delicacy and skill, and the +varied incidents of Act II. make the battle one of the +most lifelike in literature. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span> is well planned, and the characters +well contrasted. Indeed, anyone who doubts Massinger's +skill in this respect will be convinced by this play. Though +the end is sombre, it is, as Leslie Stephen has pointed out, +dignified and inevitable. As Bertoldo was sworn to celibacy, +Camiola could not have married him, even if her +self-respect had allowed it.<a id="noteref_480" name="noteref_480" href="#note_480"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">480</span></span></a> Here again we get an imperious +lady, the Duchess Aurelia, who changes her mind +too rapidly, but cannot be charged with viciousness. +The comic touches, a foolish lover and a pair of effeminate +courtiers, are quite good. The various moods of Adorni—his +deepening devotion to Camiola, his humility at her +rebuke, his fidelity in doing her commands, his temptation +<span class="tei tei-pb" id="page133">[pg 133]</span><a name="Pg133" id="Pg133" class="tei tei-anchor"></a> +to commit suicide—are admirably portrayed. The +King, too, is well drawn; he is a complex character, who +is not wholly bad. The rough old soldier Gonzaga is a +lifelike study, but the figure who dominates the play is +the high-spirited and beautiful heroine. The careful +skill of the author is shown in many details, among others, +in the way in which Camiola, before taking the veil, +persuades the King to forgive Fulgentio. For this to +be possible the way is paved by the King's change of mind +as to Camiola's character in IV., 5. The end of the play +shows in what way Massinger is a greater artist than +Fletcher. The latter would certainly have married off +the Duchess Aurelia to the King or the Duke of Urbin, +and provided Gonzaga with a wife. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +No student of our comic drama can ignore the brilliant +vigour of <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>.<a id="noteref_481" name="noteref_481" href="#note_481"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">481</span></span></a> The characters one and all +contribute to an harmonious unity, the most lifelike +perhaps being Sir John Frugal, the bluff, successful British +merchant, tender-hearted, yet ashamed of being unbusinesslike, +and a good judge of men. The plot moves +easily, not overloaded with satire. The women remind +us of Ben Jonson's women, but with less strength there is +a greater art shown here than Ben Jonson had at his command. +The great triumph of the play is the hypocrite +Luke, to whom some splendid rhetoric is assigned. He +arrests our attention from the first; though not on the +grand scale like Sir Giles Overreach, he is an innate villain, +who only lacks opportunity to be capable of anything, +a sordid soul, who does not know what goodness is. The +<span class="tei tei-pb" id="page134">[pg 134]</span><a name="Pg134" id="Pg134" class="tei tei-anchor"></a> +two 'prentices are of the same kidney as Quicksilver in +<span class="tei tei-hi"><span style="font-style: italic">Eastward Ho</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For sheer vitality and strength three of the plays stand +out conspicuously: <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">The +Guardian</span></span>. Though they are disfigured by one or two +coarse scenes, one is carried along in reading them as if one +were in a sailing-boat, dancing along a fresh sea. Of <span class="tei tei-hi"><span style="font-style: italic">The +Bondman</span></span> Monck Mason says: <span class="tei tei-q">“I don't recollect any play +whatsoever that begins or ends in a manner so pleasing, +uncommon, and striking.”</span> It contains four well-drawn +characters—Timoleon, Marullo, Leosthenes, and Cleora. +The plot is lively, though some critics, I think unjustly, +have accused the author of cutting the knot in the fifth +act. The disguised brother and sister who meet in Act +III., I should perhaps indicate their relationship. Timandra +does not explicitly mention her brother till V., 1, +64. A reference earlier in the play to the wrong which +Leosthenes had done her would certainly make for clearness. +There is much fine eloquence in the play. The +one or two offensive comic scenes are not essential to +the plot. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span> has an Oriental setting, which alone would +make it attractive on the stage. The character of Donusa +is on the grand scale, one of Massinger's successes; the +Merchant, the Jesuit, and Grimaldi are all well drawn. +There is some fine oratory and a good plot, which works +up to an exciting end. There is not much in the comic +line of value here. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The plot of <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span> is more complicated than is +usual with Massinger. It contains some charming banditti +scenes, while Alphonso's fictitious narrative in the +last act is one of the strongest pieces of writing in our +author. The guardian, Durazzo, the kind-hearted but +cynical and quick-tempered old man of the world, is one +of Massinger's most successful creations. On the other +hand, it will be allowed that there is too much concession +in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span> to a corrupt taste, due perhaps to poverty +<span class="tei tei-pb" id="page135">[pg 135]</span><a name="Pg135" id="Pg135" class="tei tei-anchor"></a> +and the depression of failure. The character of Iolante +is unattractive; her intrigue with a man who turns out +to be her brother is odious; her repentance is cheap and +unconvincing. The earlier part of the play in its movement +and morals alike reminds us of Fletcher. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span> is full of power, and enriched with some +good strokes of satire; the alternations of mood in the +chief characters are represented with skill, while the magic +portrait on which the plot hinges seems to take a natural +place in the story. There is, however, a crudeness and +hardness of texture about the play, though Mathias and +Sophia are well drawn, especially the latter. Everything +comes right at the last, and true love is vindicated +after the display of some proper pride; but one feels +that the three venture their honour too far. <span class="tei tei-q">“He comes +too near who comes to be denied.”</span> The King's faults +are overdrawn; the Queen very nearly spoils the play; +the young courtiers, though realistic, are unpleasant; +the comic element is poor and farcical.<a id="noteref_482" name="noteref_482" href="#note_482"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">482</span></span></a> In dealing with +a psychological theme, Massinger was trying to adjust to +the hard-and-fast concrete outlines of the drama a story +which would have been easier to manage and more attractive +to read if it had been cast in the form of a novel. +There would then have been possible gradations of light +and shade, which would have made the treatment less +bald. It would have supplied Richardson with a +problem worthy of his heart-breaking and long-drawn +analysis. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span> is a gloomy play, with a somewhat +intricate plot, presenting to us that strange <span class="tei tei-q">“Italianate”</span><a id="noteref_483" name="noteref_483" href="#note_483"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">483</span></span></a> +world of treachery and poison with which Webster, Ford, +and Tourneur make us familiar. We must remember, on +the other hand, that Italy gives an atmosphere which +<span class="tei tei-pb" id="page136">[pg 136]</span><a name="Pg136" id="Pg136" class="tei tei-anchor"></a> +domestic plays like <span class="tei tei-hi"><span style="font-style: italic">The Yorkshire Tragedy</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Arden of +Feversham</span></span> lack. As in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Unnatural +Combat</span></span>, the plot is developed late, though hints are given +before. Thus, the ill-treated sister is early referred to,<a id="noteref_484" name="noteref_484" href="#note_484"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">484</span></span></a> +while the last words of the same act prepare us for +Francisco's villainy. The finest scene in the play is Act +III., 1, which is bathed in the romantic atmosphere so +congenial to our author. Sforza submits to his enemy, +the Emperor Charles, without forfeiting our esteem, +while the Emperor shows a noble magnanimity. There +is a subdued comic element in the person of Graccho, the +musician. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span> is carefully written<a id="noteref_485" name="noteref_485" href="#note_485"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">485</span></span></a> and skilfully +constructed; the author has taken great pains to draw the +characters of Sforza and Marcelia, though Francisco is +perhaps more successful than either.<a id="noteref_486" name="noteref_486" href="#note_486"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">486</span></span></a> The Duke's last +words are the clue to his character: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">I come: Death, I obey thee!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Yet I will not die raging; for alas!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My whole life was a frenzy: good Eugenia,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In death forgive me.</span><a id="noteref_487" name="noteref_487" href="#note_487"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">487</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The chief <span class="tei tei-q">“frenzy”</span> of his life was his devotion to his +wife Marcelia. This peerless beauty combines pride<a id="noteref_488" name="noteref_488" href="#note_488"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">488</span></span></a> +with a kindly simplicity which is no match for Francisco; +while she dearly loves her husband and forgives him +in her last words, she is not altogether attractive. On the +other hand, her anger with Sforza for leaving orders that +she should be killed if he did not return safe from his +<span class="tei tei-pb" id="page137">[pg 137]</span><a name="Pg137" id="Pg137" class="tei tei-anchor"></a> +hazardous enterprise is natural, and the scene in which +she receives him coldly and provokes his violent anger +would be effective when acted.<a id="noteref_489" name="noteref_489" href="#note_489"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">489</span></span></a> We are inevitably reminded +of <span class="tei tei-hi"><span style="font-style: italic">Othello</span></span>, and the comparison is most instructive +as revealing the great gap which separates the pupil from +the master. Marcelia is not so gracious as Desdemona, +nor Sforza so strong as Othello, nor Francisco so devilish +as Iago. As is usually the case with Massinger, the fifth +act carries along our interest to the end. We do not weep, +but we are certainly moved by the horror of the Duke's +death. The princesses of the Ducal House are responsible +for an improbable scene<a id="noteref_490" name="noteref_490" href="#note_490"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">490</span></span></a> when they flout Marcelia in the +absence of her lord. Their behaviour reminds us of +the ladies in <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>. In style <span class="tei tei-hi"><span style="font-style: italic">The Duke of +Milan</span></span> is marked by several passages of fine poetry and +a comparative absence of the parenthetic construction. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span> is a famous and much-admired play, +adapted by Nicholas Rowe in the eighteenth century +to form the basis of his <span class="tei tei-hi"><span style="font-style: italic">Fair Penitent</span></span>.<a id="noteref_491" name="noteref_491" href="#note_491"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">491</span></span></a> There are some +fine scenes here, notably the funeral, which is as effective +as anything our poet has written. On the other hand, +the scene in which Rochfort is robed and blindfolded, and +<span class="tei tei-pb" id="page138">[pg 138]</span><a name="Pg138" id="Pg138" class="tei tei-anchor"></a> +assents to his daughter's death, recalls Fletcher in its +improbability; nor is it likely that Beaumelle would marry +Charalois at such short notice. All we can say about this +is that hurried weddings are one of the presuppositions +of the Jacobean drama.<a id="noteref_492" name="noteref_492" href="#note_492"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">492</span></span></a> There are an heroic atmosphere, +a fine friendship, and much rhetoric of a high order in <span class="tei tei-hi"><span style="font-style: italic">The +Fatal Dowry</span></span>. Moreover, as the moral lines at the end +point out, there is the clash of law and natural vengeance +in this play, which is a legitimate source of dramatic +power. Charalois, Romont, Malotin, and Pontalier are +all well drawn: the <span class="tei tei-q">“sweet and gentle nature”</span> of Charalois +is particularly attractive, though he is not incapable +of passionate anger,<a id="noteref_493" name="noteref_493" href="#note_493"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">493</span></span></a> which makes the punishment he +inflicts on his guilty wife in IV., 4 more credible. On the +other hand, a story is at a disadvantage in which the +father, though generous and dignified, is impulsive and +quixotic, the heroine is worthless, and her lover contemptible.<a id="noteref_494" name="noteref_494" href="#note_494"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">494</span></span></a> +The style in places is less lucid than usual, which +may be due to the co-operation of Field; moreover, the +metre is more halting than Massinger's is wont to be, and +I think it probable that the play has been carelessly +printed. There is much spirited sarcasm in Act III., and +some fun in Act IV.<a id="noteref_495" name="noteref_495" href="#note_495"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">495</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span> is full of splendid rhetoric; +indeed, there are perhaps too many soliloquies. This +early work is grim as an iron-bound coast; yet the +affairs of the honest, brave, and poverty-stricken +captain, Belgarde, provide a lighter element, and the +moralizing of the pert page in III., 2 is both sensible +and light-handed in execution. The reason for the son's +antipathy to his father is hinted at from time to time in the +first act; its disclosure is postponed too late. We should +<span class="tei tei-pb" id="page139">[pg 139]</span><a name="Pg139" id="Pg139" class="tei tei-anchor"></a> +also have been prepared for the wrongs and treachery +of Montreville, which burst upon us too suddenly in the +last act. The evil passion of Malefort is powerfully +depicted; here, again, we have a careful study of conflicting +emotions. Though he struggles against his evil +desires, we feel that a bad man must come to a bad end.<a id="noteref_496" name="noteref_496" href="#note_496"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">496</span></span></a> +The play would have been better rounded off if in the +initial part some indication had been given that he +seemed to everyone a man whose mind, for some mysterious +reason, was unbalanced and unhinged.<a id="noteref_497" name="noteref_497" href="#note_497"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">497</span></span></a> Once allow that +such a theme can be tolerable as that which we have here, +and the hints which Montreville drops from time to time +are adequate to stir the suspicion of the spectator. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The style is more like rhythmical prose than that of any +other of Massinger's plays. Here alone in our author +do children occur, and that in an unpleasing context.<a id="noteref_498" name="noteref_498" href="#note_498"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">498</span></span></a> +The ghosts of Malefort's victims, which appear in the last +scene, seem to me a legitimate and powerful episode. +It was natural to compare this violent play with Chapman's +tragedies; Malefort reminding us of <span class="tei tei-hi"><span style="font-style: italic">Bussy d'Ambois</span></span> +and Byron; but there is little in common between the +two authors. In the first place, Massinger knows how to +construct a play; in the second place, there is hardly a +line in <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span> which is obscure, whereas +in the last act of <span class="tei tei-hi"><span style="font-style: italic">Bussy d'Ambois</span></span>, Chapman's masterpiece, +there is hardly a line which is intelligible. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span> contains much fine poetry<a id="noteref_499" name="noteref_499" href="#note_499"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">499</span></span></a> +and one great forensic scene, such as our author loves.<a id="noteref_500" name="noteref_500" href="#note_500"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">500</span></span></a> +It is, however, in too fragmentary a state for us to judge +<span class="tei tei-pb" id="page140">[pg 140]</span><a name="Pg140" id="Pg140" class="tei tei-anchor"></a> +it fairly.<a id="noteref_501" name="noteref_501" href="#note_501"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">501</span></span></a> The atmosphere is unreal, the interest flags, +the boisterous comedy is unattractive. There are more +women than is usual in Massinger, and duelling and friendship +inspire two noble scenes (III., 2; IV., 2). Though +vice is humbled, we ask here, as in <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, does +virtue gain by the way in which its opposite is portrayed? +And are not the characters, male and female alike, undiscriminated? +The interest, in other words, is concentrated +in the triple story, and doubtless we feel some satisfaction +in the punishment of Clarindore, the betrayer of +secrets.<a id="noteref_502" name="noteref_502" href="#note_502"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">502</span></span></a> There are a good many half-lines in the manner +of Fletcher. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Though <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span><a id="noteref_503" name="noteref_503" href="#note_503"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">503</span></span></a> is full of dignity and poetry, +it has a plot without much nexus, of the sort which +Aristotle would blame as ἐπεισοδιώδης.<a id="noteref_504" name="noteref_504" href="#note_504"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">504</span></span></a> We are wafted +from Carthage to Bithynia, from Bithynia to Lusitania, +from Lusitania to Sicily. Though Antiochus is truly +a king even in his misfortunes, and excites our respect +and compassion, the play can hardly have been a success. +The melancholy tinge is too uniform; the improbabilities +of the recognitions are too glaring. The Courtesan and +Berecinthius cannot be said to have added to the gaiety +of nations; of the other characters Flaminius alone has +individuality. The peculiar circumstances under which +the play was written may help to explain the fiasco. +</p> + +<span class="tei tei-pb" id="page141">[pg 141]</span><a name="Pg141" id="Pg141" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Old Law</span></span> does not owe much to Massinger. As it +was a favourite play, it may have owed its association with +his name to revision on his part.<a id="noteref_505" name="noteref_505" href="#note_505"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">505</span></span></a> There is a charming +tenderness in places and a rollicking improbability about +the whole scheme, both alien to the staid Massinger. +The humour is not his, but better; his phraseology is +markedly absent;<a id="noteref_506" name="noteref_506" href="#note_506"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">506</span></span></a> the prose scenes show another conception +<span class="tei tei-pb" id="page142">[pg 142]</span><a name="Pg142" id="Pg142" class="tei tei-anchor"></a> +of art; the careless metre suggests Rowley. It is +clear that whoever wrote the comic parts of <span class="tei tei-hi"><span style="font-style: italic">The Old Law</span></span> +was responsible for Chough, Trimtram, and the Roarers +in <span class="tei tei-hi"><span style="font-style: italic">A Fair Quarrel</span></span>. The scene is laid in <span class="tei tei-q">“Epire,”</span> a region +which seems to have been regarded by our ancestors as a +place for strange things to happen, and a vague background +like the city of Callipolis;<a id="noteref_507" name="noteref_507" href="#note_507"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">507</span></span></a> it seems to have the +same character in the present day. A King of <span class="tei tei-q">“Epire”</span> +figures among Diocletian's court in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, +and in <span class="tei tei-hi"><span style="font-style: italic">The Dumb Knight</span></span><a id="noteref_508" name="noteref_508" href="#note_508"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">508</span></span></a> we find a Duke of Epire. The +classical allusions and Latin phrases suggest that the +author of <span class="tei tei-hi"><span style="font-style: italic">The Old Law</span></span> was a man of some culture. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +My task is now ended. I shall consider myself happy +if I persuade some of my readers to make the acquaintance +of Massinger's plays.<a id="noteref_509" name="noteref_509" href="#note_509"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">509</span></span></a> We have lately been celebrating +the tercentenary of Shakspere's death. The best +way of honouring a great author is to read his writings; +but to appreciate aright the greatness of Shakspere we +should be wise to combine with our study a just estimate +of his contemporaries and satellites; and, of the many +dramatists of that century, none seem to me more worthy +of affectionate consideration than Philip Massinger. It +is especially instructive to return to his writings from +the perusal of the masterpieces of his contemporaries; +though from time to time they display rich gifts of pathos, +poetry, and humour, they are too often marred by waywardness, +unnaturalness, want of proportion, and grossness; +it is a relief to resume the study of an author whose +work is sober, well balanced, dignified, and lucid. While +he shares with them the modern atmosphere of romance +and adventure, he is the most Greek of his generation; +and this is the real secret of his abiding charm. The +<span class="tei tei-pb" id="page143">[pg 143]</span><a name="Pg143" id="Pg143" class="tei tei-anchor"></a> +passionate, the abnormal, the lurid, the farcical elements, +in which his contemporaries revel, are not, indeed, +entirely absent, but they are less conspicuous; the +luxuriance of the thicket does not hinder the wayfarer +from following the path; we pluck the roses without +tearing our flesh on the thorns; and as we contemplate +the marble splendour of his verse we almost forget that +sculpture has its limitations. +</p> + +</div> + +<span class="tei tei-pb" id="page145">[pg 145]</span><a name="Pg145" id="Pg145" class="tei tei-anchor"></a> + +<hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc7" id="toc7"></a> +<a name="pdf8" id="pdf8"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix I. The Small Actor In Massinger's Plays</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There are several passages in our author in which reference +is made to the low stature of the actor of a female part. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Duke of Milan</span></span><span style="font-size: 90%">, II., 1, 108: Graccho, speaking of Mariana: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of a little thing,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">It is so full of gall!</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +II., 1, 156: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Marcelia.</span></span><span style="font-size: 90%"> For you, puppet—</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Mariana.</span></span><span style="font-size: 90%"> What of me, pine-tree?</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +172: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Mariana.</span></span><span style="font-size: 90%"> O that I could reach you,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The little one you scorn so.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +177: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Graccho.</span></span><span style="font-size: 90%"> Forty ducats</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Upon the little hen.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +181: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Marcelia.</span></span><span style="font-size: 90%"> Where are you,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You modicum, you dwarf?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Mariana.</span></span><span style="font-size: 90%"> Here, giantess, here.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +188: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Mariana.</span></span><span style="font-size: 90%"> Or right me on this monster (she's three foot</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Too high for a woman).</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Bondman</span></span><span style="font-size: 90%">, I., 2, 3: Cleon, speaking to Corisca: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Beauty invites temptations, and short heels</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Are soon tripp'd up.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(This passage may have another interpretation.) +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Renegado</span></span><span style="font-size: 90%">, I., 2, 9: Manto, speaking of Paulina: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And though low of stature,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her well-proportion'd limbs invite affection.</span></div> +</div> + +<span class="tei tei-pb" id="page146">[pg 146]</span><a name="Pg146" id="Pg146" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +II., 5, 159: Asambeg, of Paulina: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Such a spirit,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In such a small proportion, I ne'er read of.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +V., 2, 62: Carazie, of Paulina: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I would he had sent me</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To the gallies or the gallows, when he gave me</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To this proud little devil.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +V., 3, 174: Mustapha, of Paulina: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A terrible little tyranness!</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Parliament of Love</span></span><span style="font-size: 90%">, V., 1, 86: Perigot, of Leonora: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A confident little pleader.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Roman Actor</span></span><span style="font-size: 90%">, IV., 1, 15: Domitilla, referring to Domitia: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 25.20em"><span style="font-size: 90%">Who no sooner absent.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But she calls Dwarf! (so in her scorn she styles me)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Put on my pantofles, fetch pen and paper.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +V., 2, 5: Domitilla speaks: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Could I make my approaches, though my stature</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Does promise little, I have a spirit as daring</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As hers that can reach higher.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Picture</span></span><span style="font-size: 90%">, I., 1, 96: Corisca speaks: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your hand, or if you please</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To have me fight so high, I'll not be coy,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But stand a-tiptoe for't.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +III., 2, 27: Ricardo to Corisca: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Pretty one, I descend</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To take the height of your lip.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +II., 2, 197: And Pallas, bound up in a little volume. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Emperor of the East</span></span><span style="font-size: 90%">, II., 1, 388: Theodosius to Athenais: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 37.80em"><span style="font-size: 90%">By thyself,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The magazine of felicity, in thy lowness</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our eastern queens, at their full height, bow to thee.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Maid of Honour</span></span><span style="font-size: 90%">, I., 2, 46: Sylli to Camiola: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nor I, your little ladyship, till you have</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Perform'd the covenants.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +II., 2, 117: Fulgentio to Camiola: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of a little thing</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You are a pretty peat, indifferent fair too.</span></div> +</div> + +<span class="tei tei-pb" id="page147">[pg 147]</span><a name="Pg147" id="Pg147" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Maid of Honour</span></span><span style="font-size: 90%">, IV., 3, 83: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Bertoldo.</span></span><span style="font-size: 90%"> Since she alone, in the abstract of herself,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That small but ravishing substance, comprehends</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Whatever is, or can be wish'd, in the</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Idea of a woman!</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Bashful Lover</span></span><span style="font-size: 90%">, I., 1, 116: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Hortensio.</span></span><span style="font-size: 90%"> My little friend, good morrow.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(</span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span><span style="font-size: 90%"> III., 1, 28, where </span><span class="tei tei-q"><span style="font-size: 90%">“</span><span style="font-size: 90%">Ascanio</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> has to be carried.) +</span></p> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The part of Domitilla was taken by I. Hunniman; that of +Paulina by Theo. Bourne; that of Corisca (in <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>) by +W. Trigge. It would appear, therefore, that these references +are not all due to the stature of any one individual actor, +but that Massinger took care to have actors of different height +brought into juxtaposition in his plays. He may here be +copying the well-known passages in <span class="tei tei-hi"><span style="font-style: italic">Midsummer Night's +Dream</span></span> (III., 2, 288-298, 324, 329). <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Antony and +Cleopatra</span></span>, II., 5, 118; III., 3, 13; <span class="tei tei-hi"><span style="font-style: italic">Much Ado</span></span>, I., 1, 172 and +216; <span class="tei tei-hi"><span style="font-style: italic">As You Like It</span></span>, I., 2, 284; <span class="tei tei-hi"><span style="font-style: italic">Twelfth Night</span></span>, I., 5, 219; II., +5, 16; <span class="tei tei-hi"><span style="font-style: italic">King Lear</span></span>, I., 1, 201. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Bradley's <span class="tei tei-hi"><span style="font-style: italic">Shakspearean +Tragedy</span></span>, p. 317, n. 1. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In Dekker's <span class="tei tei-hi"><span style="font-style: italic">Honest Whore</span></span>, Pt. 2. III., 1, the heroine, +Bellafront, is <span class="tei tei-q">“a little tiny woman.”</span> So are Pretiosa in Middleton's +<span class="tei tei-hi"><span style="font-style: italic">Spanish Gipsy</span></span> (I., 5), and Isabella in <span class="tei tei-hi"><span style="font-style: italic">Women, beware +Women</span></span> (III., 2). <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">The Case is Altered</span></span> (III., 3), <span class="tei tei-q">“'Fore +God, the taller is a gallant lady.”</span> We find the same idea in <span class="tei tei-hi"><span style="font-style: italic">The +Fair Maid of the West</span></span>, II., 3; III., 1, 2. Celestina, in Shirley's +<span class="tei tei-hi"><span style="font-style: italic">Lady of Pleasure</span></span> (III., 2), is <span class="tei tei-q">“a puppet.”</span> Spaconia in <span class="tei tei-hi"><span style="font-style: italic">A King +and no King</span></span> (III., 1) is <span class="tei tei-q">“that little one”</span>; Viola in <span class="tei tei-hi"><span style="font-style: italic">The Coxcomb</span></span> +(V., 3) is <span class="tei tei-q">“not high.”</span> <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">The Prophetess</span></span> (I., 3, 59), +a play which bears many marks of Massinger's work: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Dioclesian.</span></span><span style="font-size: 90%"> Thou know'st she is a prophetess.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Maximinian.</span></span><span style="font-size: 90%"> A small one,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And as small profit to be hoped for by her.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Spanish Curate</span></span><span style="font-size: 90%"> (V., 1, 37), Jamie to Violante: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In stature you're a giantess: and your tailor</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Takes measures of you with a Jacob's staff</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or he can never reach you: this by the way</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For your large size.</span></div> +</div> + +<span class="tei tei-pb" id="page148">[pg 148]</span><a name="Pg148" id="Pg148" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Love's Cure</span></span><span style="font-size: 90%"> (V., 3), Bobadillo to Lucio, speaking about Clara: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I put the longest weapon in your sister's hand, my lord, because she was the shortest lady.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Sea Voyage</span></span> (IV., 3): <span class="tei tei-hi"><span style="font-variant: small-caps">Morillat</span></span>: <span class="tei tei-q">“This little gentlewoman +that was taken with us,”</span> referring to Aminta. As Cleopatra +in <span class="tei tei-hi"><span style="font-style: italic">The False One</span></span> (II., 3) arrives in a parcel, she must have +been small. Margarita in <span class="tei tei-hi"><span style="font-style: italic">Rule a Wife</span></span> (III., 4) is <span class="tei tei-q">“of a low +stature.”</span> Ismenia in <span class="tei tei-hi"><span style="font-style: italic">The Maid of the Mill</span></span> <span class="tei tei-q">“was of the lowest +stature”</span> (I., 2); <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> also V., 2, 7. Evanthe in <span class="tei tei-hi"><span style="font-style: italic">A Wife for a +Month</span></span>, IV., 3 is <span class="tei tei-q">“this little fort.”</span> <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">The Noble +Gentleman</span></span>, IV., 3. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc9" id="toc9"></a> +<a name="pdf10" id="pdf10"></a> +<a name="Appendix_II" id="Appendix_II" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix II</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Did Massinger know Greek? It is perhaps worth while +collecting the scanty evidence on the subject. We find a pun +on the name Philanax in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>,<a id="noteref_510" name="noteref_510" href="#note_510"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">510</span></span></a> and Mathias +plays on the name of his wife Sophia.<a id="noteref_511" name="noteref_511" href="#note_511"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">511</span></span></a> The phrase κατ᾽ +ἐξοήν is used in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>.<a id="noteref_512" name="noteref_512" href="#note_512"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">512</span></span></a> We find a Greek construction +in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>:<a id="noteref_513" name="noteref_513" href="#note_513"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">513</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And that before he gives he would consider</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The what, to whom, and wherefore.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On the other hand, we notice Theseus scanned as a trisyllable.<a id="noteref_514" name="noteref_514" href="#note_514"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">514</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There are one or two passages where the unexpected turn +<span class="tei tei-pb" id="page149">[pg 149]</span><a name="Pg149" id="Pg149" class="tei tei-anchor"></a> +of the thought rather suggests a Greek original. Thus, in +<span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span><a id="noteref_515" name="noteref_515" href="#note_515"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">515</span></span></a> we are reminded of <span class="tei tei-hi"><span style="font-style: italic">The Acharnians</span></span>:<a id="noteref_516" name="noteref_516" href="#note_516"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">516</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Gazet.</span></span><span style="font-size: 90%"> What places of credit are there?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Carazie.</span></span><span style="font-size: 90%"> Chief gardener.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Gazet.</span></span><span style="font-size: 90%"> Out upon't! 'Twill put me in mind my mother was an herb woman.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Another passage of <span class="tei tei-hi"><span style="font-variant: small-caps">The Renegado</span></span><a id="noteref_517" name="noteref_517" href="#note_517"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">517</span></span></a> reminds us of a famous +fragment of Euripides,<a id="noteref_518" name="noteref_518" href="#note_518"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">518</span></span></a> often mistranslated: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Asambeg.</span></span><span style="font-size: 90%"> At Aleppo</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I durst not press you so far: give me leave</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To use my own will and command in Tunis.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span><a id="noteref_519" name="noteref_519" href="#note_519"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">519</span></span></a> we find a parallel to <span class="tei tei-hi"><span style="font-style: italic">The Hecuba</span></span>:<a id="noteref_520" name="noteref_520" href="#note_520"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">520</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Theophilus.</span></span><span style="font-size: 90%"> As a curious painter,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When he has made some honourable piece,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Stands off, and with a searching eye examines</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Each colour, how 'tis sweeten'd; and then hugs</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Himself for his rare workmanship.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span><a id="noteref_521" name="noteref_521" href="#note_521"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">521</span></span></a> occurs a parallel quoted by Dr. +Walter Headlam in his notes to <span class="tei tei-hi"><span style="font-style: italic">Agamemnon</span></span>:<a id="noteref_522" name="noteref_522" href="#note_522"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">522</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Theodosius.</span></span><span style="font-size: 90%"> What an earthquake I feel in me!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And on the sudden my whole fabric totters!</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My blood within me turns, and through my veins,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Parting with natural redness, I discern it</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Chang'd to a fatal yellow.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is the general opinion of scholars that our Elizabethan +dramatists owed very little to the Greek drama directly, but +we cannot forget that Massinger had had a good education at +Oxford, and was a widely read man.<a id="noteref_523" name="noteref_523" href="#note_523"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">523</span></span></a> His forensic skill +<span class="tei tei-pb" id="page150">[pg 150]</span><a name="Pg150" id="Pg150" class="tei tei-anchor"></a> +often reminds us of Euripides; and if he did not know the +works of his illustrious predecessor, he would have found in +them a congenial spirit.<a id="noteref_524" name="noteref_524" href="#note_524"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">524</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The speech of Sanazarro to Giovanni in <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of +Florence</span></span><a id="noteref_525" name="noteref_525" href="#note_525"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">525</span></span></a> reminds us of Creon's arguments in Sophocles' +<span class="tei tei-hi"><span style="font-style: italic">Œdipus Tyrannus</span></span>, line 596 κ.τ.λ. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The scene in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>,<a id="noteref_526" name="noteref_526" href="#note_526"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">526</span></span></a> when the senators frighten the +mutinous slaves by shaking their whips, reminds us of the +Scythians in <span class="tei tei-hi"><span style="font-style: italic">Herodotus</span></span>,<a id="noteref_527" name="noteref_527" href="#note_527"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">527</span></span></a> but it is also found in <span class="tei tei-hi"><span style="font-style: italic">Justin</span></span>,<a id="noteref_528" name="noteref_528" href="#note_528"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">528</span></span></a> and +Gifford points out that it may really have been borrowed from +a contemporary book of travels, Purchas's <span class="tei tei-hi"><span style="font-style: italic">Pilgrims</span></span>.<a id="noteref_529" name="noteref_529" href="#note_529"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">529</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger had a good working knowledge of mythology; +thus, references in his plays to Hercules and Alcides abound, +as they do in Shakspere. We find several false quantities in +proper names: Caesarĕa, in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>; Archidămus, +in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>; Eubŭlus, in <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>; Nomothētae, in +<span class="tei tei-hi"><span style="font-style: italic">The Old Law</span></span><a id="noteref_530" name="noteref_530" href="#note_530"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">530</span></span></a>; Cybēle, in <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>.<a id="noteref_531" name="noteref_531" href="#note_531"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">531</span></span></a> We may compare +Shakspere's <span class="tei tei-hi"><span style="font-style: italic">Andronĭcus</span></span>; Anthrŏpos in <span class="tei tei-hi"><span style="font-style: italic">Four Plays in +One</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Triumph of Time</span></span>; and Euphānes in <span class="tei tei-hi"><span style="font-style: italic">The Queen of +Corinth</span></span>.<a id="noteref_532" name="noteref_532" href="#note_532"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">532</span></span></a> +</p> + +<span class="tei tei-pb" id="page151">[pg 151]</span><a name="Pg151" id="Pg151" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It seems scarcely worth while to collect the passages which +show Massinger's knowledge of Latin; the authors he seems to +have known best are Ovid, Juvenal, and Horace. Swinburne +and others have commented on his indulgence in <span class="tei tei-q">“the commonplace +tropes and flourishes of the schoolroom or the schools.”</span><a id="noteref_533" name="noteref_533" href="#note_533"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">533</span></span></a> +</p> + +</div> +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc11" id="toc11"></a> +<a name="pdf12" id="pdf12"></a> +<a name="Appendix_III" id="Appendix_III" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix III. The Collaborated Plays</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The plays in which Massinger is supposed to have collaborated +with other authors are here set down, with the analyses made +by Boyle (<span class="tei tei-hi"><span style="font-style: italic">D. N. B.</span></span>, xxxvii., pp. 10-16) and the views of +Mr. A. H. Bullen in his article on Fletcher (<span class="tei tei-hi"><span style="font-style: italic">D. N. B.</span></span>, xix., +pp. 303-311).<a id="noteref_534" name="noteref_534" href="#note_534"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">534</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +1. <span class="tei tei-hi"><span style="font-style: italic">The Honest Man's Fortune.</span></span> (Field, Daborne, Massinger, +Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act III. or part of it. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: I doubt whether Massinger had any share in this +play. There are passages of ten-syllable lines in Act +III., 1 which are quite unlike him, while 2 and 3 are +interspersed with prose passages, a feature which +Massinger as a rule avoids. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +2. <span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret.</span></span> (Massinger, Field, Fletcher, and +possibly a fourth writer.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M: Act I., 2; Act II., 1, 3; Act IV., 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. attributes largely to Massinger, assigning Act III. +to an unknown author. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C. assigns to Massinger Act II., 1 and 3, and with +some hesitation Act I., 2; Act IV., 2. +</p> + +<span class="tei tei-pb" id="page152">[pg 152]</span><a name="Pg152" id="Pg152" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +3. <span class="tei tei-hi"><span style="font-style: italic">The Bloody Brother.</span></span> (Massinger, Field, Fletcher, and +possibly a fourth writer.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., Act V., 1. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. thinks that Fletcher and Jonson wrote the play, +and that Massinger revised it for a performance at +Hampton Court in January, 1636-37. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: There are clearly three hands at work here, one of +whom writes obscurely and uses a good deal of rhyme. +Act I., 1 reminds us of Massinger in several touches, +especially lines 269-70. The broken lines in this scene +are complete, as is Massinger's unfailing practice, but +the ten-syllable line is more common than is usually +the case with him. While Act V., 1 has some sentences +cast in the parenthetic form, the expressions +used are less lucid than we expect from Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +4. <span class="tei tei-hi"><span style="font-style: italic">The Knight of Malta.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act III., 2, 3; Act IV., 1; possibly part of Act V., 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees, assigning Act II. and Act III., 1 to Fletcher. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Some third person wrote Act I. and part of Act V.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: I trace Massinger only in Act III., 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +5. <span class="tei tei-hi"><span style="font-style: italic">The Queen of Corinth.</span></span> (Massinger, Fletcher (?), Field.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., Act V. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. assigns Act II. to Fletcher, the rest to Middleton +and Rowley. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Massinger wrote Act I., 1, 2, 3 from <span class="tei tei-q">“Enter +Agenor,”</span> V., 2. Fletcher wrote Act I., 3; Act II., +1, 2, 3, 4; Act III., 1, 2; Act V., 3. As usual, he is +responsible for the comic parts. Act V., 4 is a vigorous +trial scene, not due, I think, to Massinger. The impression +that I get from Act III. is that Massinger +drafted it, and Fletcher worked over it. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +6. <span class="tei tei-hi"><span style="font-style: italic">Sir John Van Olden Barnavelt.</span></span> (Massinger, Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., 1, 2; Act II., 1; Act III., 2, 3, 5; Act IV., 4, 5; +Act V., 1 to <span class="tei tei-q">“Enter Provost.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees on the whole. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Act III., 5, and Act IV., 5 seem to me unworthy of +Massinger. Perhaps a third hand wrote Act I., 3; +Act II., 2-7; Act III., 1, as far as <span class="tei tei-q">“will ripen the +<span class="tei tei-pb" id="page153">[pg 153]</span><a name="Pg153" id="Pg153" class="tei tei-anchor"></a> +imposture”</span>; Act III., 3; Act V., 1, as far as <span class="tei tei-q">“Exeunt +wife and daughter.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +7. <span class="tei tei-hi"><span style="font-style: italic">Henry the Eighth.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees, attributing a few passages to Shakspere, +notably the trial scene of Catherine. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Sir A. Ward thinks that Massinger and Fletcher wrote most +of the play, Shakspere only a little (<span class="tei tei-hi"><span style="font-style: italic">H. E. D.</span></span>, ii., 246). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay ascribes it to Shakspere and Fletcher, <span class="tei tei-q">“perhaps +revised by Massinger.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For a fuller discussion of this problem, <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> pp. <a href="#Pg084" class="tei tei-ref">84-91</a>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +8. <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act II., 1; Act III., 1, 2; Act IV., 3; Act V., 1 +from line 19, 3, 4. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. thinks that Shakspere wrote additions for the revival +of an old play, <span class="tei tei-hi"><span style="font-style: italic">Palamon and Arsett</span></span>, which came +into the hands of Fletcher and Massinger after the +death of Shakspere. Massinger has interpolated his +own work in some of the Shakspere passages. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For a fuller discussion of this problem, <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> pp. <a href="#Pg092" class="tei tei-ref">92-104</a>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +9. <span class="tei tei-hi"><span style="font-style: italic">The Custom of the Country.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act II., 1, 2, 3, 4; Act III., 4, 5; Act IV., 1, 2; Act V., +1, 2, 3, 4. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay adds part of Act V., 5 to Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: This play owes very little to Massinger. Boyle, +in attributing Act II. to him, must have been guided +solely by metrical considerations. There is not a +trace of his style in the Act. No doubt it is true +that Hippolyta is a type familiar in Massinger's +plays; and her sudden change of mind in the last act +reminds us of him. Again, the mental treatment to +which Duarte owes his cure (Act IV., 1), and the praises +of the medical profession (Act V., 4), recall <span class="tei tei-hi"><span style="font-style: italic">A Very +Woman</span></span> (II., 2, 26). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But we have to set a good deal against these facts. The +plot is more elaborate, bustling, and improbable than +we expect from Massinger. It is improbable that the +young men (Act II., 2) should leap into the sea and +<span class="tei tei-pb" id="page154">[pg 154]</span><a name="Pg154" id="Pg154" class="tei tei-anchor"></a> +leave Zenocia in the lurch. It is improbable that they +should swim a league to shore with their swords erect +in the air, though swords no doubt they must have +if they are to behave as Fletcher's gentlemen behave. +It is improbable that Rutilio in his flight (Act II., 4) +should take refuge in a palace and find himself in the +bedroom of the lady of the house. Difficulties of this +kind are familiar enough in Fletcher. It need scarcely +be said that Sulpicia and her establishment are due to +Fletcher alone. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +To sum up, if Massinger had any share in this play, he may +have given hints or added touches in connexion with +Hippolyta and Duarte. The simplest supposition is +that he edited the play for a revival. The Prologue +and Epilogue <span class="tei tei-q">“at a revival”</span> contain expressions which +remind us of him. The Prologue ends thus (lines +18-20): +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 34.20em"><span style="font-size: 90%">You may allow</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Your candour safe) what's taught in the old schools,</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">All such as lived before you were not fools.</span><span style="font-size: 90%">”</span></span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The parenthesis is in Massinger's manner. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Again, in the second Epilogue, line 7, we find <span class="tei tei-q">“qualification,”</span> +with which compare <span class="tei tei-q">“fortification”</span> in <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., +2, 25. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +10. <span class="tei tei-hi"><span style="font-style: italic">The Elder Brother.</span></span> (Fletcher (?), Beaumont; probably +revised generally by Massinger.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., 1, 2; Act V., 1, 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. thinks that Massinger revised and completed it +after Fletcher's death, but says nothing about Beaumont. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: There are traces of Massinger in Act I., 1 and Act +V., 1, in which scenes we find careful metre and a good +many parentheses. While Act I., 2 resembles Massinger, +it seems to me to have a lighter touch than his. +In Act V., 1 we find a speech or two very much in +his manner, and characteristic also is the skill with +which an ambiguity is prolonged for some time in +this scene, and then dissipated. I doubt if he wrote +Act V., 2. +</p> + +<span class="tei tei-pb" id="page155">[pg 155]</span><a name="Pg155" id="Pg155" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +11. <span class="tei tei-hi"><span style="font-style: italic">The Sea Voyage.</span></span> (Massinger, Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act II., 1, 2; Act III., 1, from <span class="tei tei-q">“Enter Rosellia”</span>; +Act V., 1, 2, 3, 4. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. says nothing about Massinger here. Macaulay +doubts if he had any share in the play. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: The metre is throughout too rough for Massinger. +The plot does not recall his work in any way. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +12. <span class="tei tei-hi"><span style="font-style: italic">The Double Marriage.</span></span> (Massinger, Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., 1; Act III., 1; Act IV., 1, 2; Act V., 2, to <span class="tei tei-q">“Enter +Pandulfo.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay assigns all Act I. to Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C: I find no trace of Massinger in this improbable +play. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +13. <span class="tei tei-hi"><span style="font-style: italic">The Beggars' Bush.</span></span> (Massinger, Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., 1, 2, 3; Act V., 1, latter part; V., 2, lines 1-110. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. does not think Massinger's part is clearly marked. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay assigns to Massinger Acts I., II., III., and V. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: I find no trace of Massinger. Neither the plot is +lucid nor the expression. The commercial scenes and +the beggars' slang are both unlike anything in Massinger, +and alien to his courtly mind. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +14. <span class="tei tei-hi"><span style="font-style: italic">The False One.</span></span> (Massinger, Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act V. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Massinger wrote Act I., a good deal of Act IV., +and Act V. There is hardly a scene except the Masque +in Act III., 4 which reads like Fletcher's unaided work. +The dignified rhetoric throughout the play has the +stamp of Massinger; more than that, the character-drawing +is like his. The outspoken Sceva reminds us +of the old courtier Eubulus in <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>. The rudeness +of Eros to Septimius in Act III., 2, reminds us of +Donusa in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>. The continual changes of +mind on the part of Septimius are an effect which Massinger +loves. (<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Arsinoe and Photinus in Act +V., 4.) +</p> + +<span class="tei tei-pb" id="page156">[pg 156]</span><a name="Pg156" id="Pg156" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +15. <span class="tei tei-hi"><span style="font-style: italic">The Prophetess.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Acts II., IV., V., 1, 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. thinks Massinger's share <span class="tei tei-q">“very considerable.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Fletcher wrote Act I., 1, 2, and the Geta scenes +(Act I., 3; Act III., 2; Act IV., 3, 5; Act V., 3). Perhaps +some hack wrote the choruses (Act IV., 1; Act +V., 1) or are they inherited from an old play? The +main part of the play is due to Massinger. He certainly +had a hand in Act III., 1. Maximinian is a skilfully +drawn character on his lines. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +16. <span class="tei tei-hi"><span style="font-style: italic">The Little French Lawyer.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act III., 1; Act V., 1, from <span class="tei tei-q">“Enter Cleremont,”</span> +with traces of his hand in other scenes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Massinger can be traced at the beginning of Act +I., 1 and in Act III., 1 and Act IV., 5. The resemblances +are rather slight, and it is possible that they are +due to the fact that Fletcher occasionally imitated +Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +17. <span class="tei tei-hi"><span style="font-style: italic">The Lover's Progress.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., 1, 2 (to <span class="tei tei-q">“Enter Malefort”</span>); Act II., 2; Act III., +4, 6 (last two speeches); Act IV.; Act V. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. thinks it is <span class="tei tei-q">“by Fletcher, with large alterations +by Massinger.”</span> He refers to the explicit statement +in the Prologue where the reviser declares himself to +be— +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 10.80em"><span style="font-size: 90%">ambitious that it should be known</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What's good was Fletcher's, and what ill his own,</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +a statement in harmony with Massinger's well-known +modesty. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Massinger wrote Act I., 1, Act II., 2. There are +traces of his work in Act III., 4, 6; Act IV., 2, 4; Act +V., 1, 3. The improbabilities of the plot—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, the +action of Clarangé—are due to Fletcher. It is clear +from the Prologue that the original play was too long. +Massinger probably cut it down, by leaving out, among +other things, scenes in which Lisander killed his two +foes. The play is probably to be identified with <span class="tei tei-hi"><span style="font-style: italic">The +</span><span class="tei tei-pb" id="page157">[pg 157]</span><a name="Pg157" id="Pg157" class="tei tei-anchor"></a><span style="font-style: italic"> +Wandering Lovers</span></span> or <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, entered as by Massinger +in the Stationers' Register, September 9th, 1653. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +18. <span class="tei tei-hi"><span style="font-style: italic">The Spanish Curate.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act III., 3; Act IV., 1, 4; Act V., 1, 3. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay adds Act IV., 2 to Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Massinger can be clearly traced in Act I., 1, Act +V., 1; not in Act V., 3. The trial scene (Act III, 3), +though on slighter lines than he uses as a rule, may be +due to him. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +19. <span class="tei tei-hi"><span style="font-style: italic">The Fair Maid of the Inn.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act III., 2; Act V., 3. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. attributes to Rowley and Massinger, and thinks +Fletcher's share very small. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay assigns to <span class="tei tei-q">“Massinger and another (not +Fletcher).”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: Massinger wrote Act I., Act V., 3 as far as Clarissa's +speech. Fletcher wrote Act II., Act III., Act IV., +Act V., 1, 2. The mother's device to save her son is the +sort of improbability from which Fletcher does not +shrink. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +20. <span class="tei tei-hi"><span style="font-style: italic">A Very Woman.</span></span> (Massinger and Fletcher.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act II., 1, 2, 3 down to <span class="tei tei-q">“Enter Pedro”</span>; Act +IV., 1, 3. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. identifies this play with <span class="tei tei-hi"><span style="font-style: italic">The Woman's Plot</span></span>, acted at +Court in 1621. In its present state it is a version of a +play by Fletcher, revised for a revival by Massinger +in 1634. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay assigns Act III. and Act IV., 1, 2, 3 to Fletcher. +For a discussion of this play <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> pp. 129-131. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +21. <span class="tei tei-hi"><span style="font-style: italic">The Second Maiden's Tragedy.</span></span> (Massinger, Tourneur.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I., Act II. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In <span class="tei tei-hi"><span style="font-style: italic">Eng. Stud.</span></span>, ix. 234, Boyle, with some hesitation, regards +this play as <span class="tei tei-q">“an early, anonymous, and unsuccessful +attempt of Massinger's.”</span> Whoever wrote it, the work +is immature. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C. I find no trace of Massinger in this play, but a +great deal of Tourneur's manner. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <a href="#Appendix_XIII" class="tei tei-ref">Appendix XIII</a>. +</p> + +<span class="tei tei-pb" id="page158">[pg 158]</span><a name="Pg158" id="Pg158" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +22. <span class="tei tei-hi"><span style="font-style: italic">Love's Cure.</span></span> (Massinger and (?) Middleton.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act IV.; Act V., 1, 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. agrees that the play is due to Massinger and Middleton. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Fleay thinks that Massinger altered a play by Beaumont +and Fletcher. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: It is to be noted that the Prologue expressly +attributes the play to Beaumont and Fletcher. I find +nothing like Massinger except a few touches in Act I., +1 and 3. The lightheartedness of the play reminds +us alike of Fletcher and Middleton; the romantic +atmosphere reminds us of the former, the inferiority +of the metre of the latter. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +23. <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry.</span></span> (Massinger and Field.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act III. (to <span class="tei tei-q">“Enter Novall junior”</span>); Act IV., +2, 3, 4; Act V., 1, 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For further discussion <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <a href="#Appendix_XI" class="tei tei-ref">Appendix XI</a>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +24. <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr.</span></span> (Massinger and Dekker.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +M.: Act I.; Act III., 1, 2; Act IV., 3; Act V., 2. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For a discussion of this verdict <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <a href="#Appendix_X" class="tei tei-ref">Appendix X</a>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +25. <span class="tei tei-hi"><span style="font-style: italic">The Old Law.</span></span> (Massinger, Middleton, Rowley.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger's share was slight, and can only have consisted in +revision for a later performance. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> supra, pp. <a href="#Pg141" class="tei tei-ref">141-2</a>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Other Plays attributed in Part to Massinger.</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +26. <span class="tei tei-hi"><span style="font-style: italic">The Laws of Candy.</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. B. thinks a large part was written by Massinger, +and that Fletcher cannot be traced. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Boyle (<span class="tei tei-hi"><span style="font-style: italic">Eng. Stud.</span></span>, vii. 75) thinks that though the metrical +treatment is like Beaumont's, the play is evidently +later in date, perhaps due to Shirley. Fleay (<span class="tei tei-hi"><span style="font-style: italic">Eng. +Stud.</span></span>, ix. 23) assigns it to Massinger and Field. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay says <span class="tei tei-q">“probably by Massinger and another author +(not Fletcher).”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: I find no trace here of the Massinger that we know. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +27. <span class="tei tei-hi"><span style="font-style: italic">The Captain.</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Macaulay: <span class="tei tei-q">“By Fletcher and another, perhaps Massinger.”</span> +</p> + +<span class="tei tei-pb" id="page159">[pg 159]</span><a name="Pg159" id="Pg159" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A. H. C.: This is one of the many plays in the Fletcher +corpus which begins admirably and falls away into improbability. +I find no trace of Massinger here, though +the incident in Act IV., 5 reminds one of the banquet +in <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>, Act III., 6. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +28. <span class="tei tei-hi"><span style="font-style: italic">The Cure for a Cuckold</span></span>, <span class="tei tei-q">“a pleasant comedy written by +John Webster and William Rowley; London, 1661.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It has been supposed by Fleay that the first act is due to +Massinger. It must be pointed out that a large part +of the play is written in prose, and that the verse parts +are not like Massinger. If one or two phrases remind +us of his style the stage is too crowded to make it likely +that it is his design. The real reason, no doubt, for +the assumption is that the incident of Clare and Lessingham +is similar to one in <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>. +Clare sends a letter to Lessingham in which she tells +him she will marry him if he will kill his dearest friend. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Prove all thy friends, find out the best and nearest,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Kill for my sake that friend that loves thee dearest.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But even so the incident is worked out with much +variety in detail. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Mr. Rupert Brooke in his <span class="tei tei-hi"><span style="font-style: italic">Study on Webster</span></span> (Appendix J) +arrives at the conclusion that Webster's play is subsequent +to Massinger's, both of them bearing a general +resemblance to Marston's <span class="tei tei-hi"><span style="font-style: italic">Dutch Courtesan</span></span>. The +stinging and incisive vigour of Marston's play is a great +contrast to the romantic treatment of the subject in +<span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +29. <span class="tei tei-hi"><span style="font-style: italic">The Island Princess.</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This is rather a dull play, though it contains some fine passages +and isolated lines. It is well constructed, and +contains one or two touches, such as <span class="tei tei-q">“I love a soldier”</span> +(I., 2) and <span class="tei tei-q">“something shall be thought on”</span> (II., 7), +which recall Massinger. And compare <span class="tei tei-q">“When the +streams flow clear and fair, what are the fountains?”</span> +(V., 2) with <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, I., 3, 282. The King in gaol +reminds us of <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>; the attempt of the +Queen Quisara to convert Armusia to her faith reminds +<span class="tei tei-pb" id="page160">[pg 160]</span><a name="Pg160" id="Pg160" class="tei tei-anchor"></a> +us of <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>. On the other hand, the metre is +singularly like Fletcher's throughout; the diction in +many details is unlike Massinger, and there are no +parentheses. Perhaps Fletcher was helped in this +play by some young man such as Brome who was +acquainted with Massinger's style. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +30. <span class="tei tei-hi"><span style="font-style: italic">The Double Falsehood, or The Distressed Lovers.</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This play scarcely deserves serious consideration. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> +<a href="#Appendix_XV" class="tei tei-ref">Appendix XV</a>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It will at once be seen how precarious and subjective +is much of this attribution. For example, to trace +four styles in a play is a difficult feat, yet Boyle +does this in (2) and (3). Brander Matthews, in discussing +the relation of Massinger and Fletcher, has +some interesting remarks, illustrated by modern +parallels. He points out that collaboration may be +either a chemical union or a mechanical mixture of the +authors' qualities, so that it is hard to decide which +process has taken place in a particular play. These +considerations lead him to doubt the finality of Boyle's +distribution of scenes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Boyle's strong points are his argument from metrical details +and his intimate knowledge of the texts. I feel, however, +that the metrical test is open to the charge of +being mechanical when weighed against the impressions +which we gain from the evidence of construction, +style, and expressions. Massinger constructed his +plays well, and modelled his characters carefully, +whereas Fletcher, while excelling in isolated scenes, +shrank from no improbability which might be necessary +to carry the plot through. I am more conservative, +therefore, than Professor Gayley, who says that +<span class="tei tei-q">“in <span class="tei tei-hi"><span style="font-style: italic">The Spanish Curate</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Little French Lawyer</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Prophetess</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">The Beggars' Bush</span></span> Massinger's +contribution was fully as important as Fletcher's. +The general design appears to be the work of the former. +Fletcher fills in the details of comic business”</span>;<a id="noteref_535" name="noteref_535" href="#note_535"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">535</span></span></a> and that +<span class="tei tei-pb" id="page161">[pg 161]</span><a name="Pg161" id="Pg161" class="tei tei-anchor"></a> +<span class="tei tei-q">“he has no doubt about Massinger's part in <span class="tei tei-hi"><span style="font-style: italic">The +Knight of Malta</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Lover's Progress</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">The Elder +Brother</span></span>.”</span><a id="noteref_536" name="noteref_536" href="#note_536"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">536</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Next, with regard to style and expression, when we +remember the intimacy of the two men, it is quite +possible that Massinger imitated Fletcher consciously +or unconsciously at some time of his life, and <span class="tei tei-hi"><span style="font-style: italic">vice versa</span></span>. +Or we may put it in this way: there was a certain +amount of conventional stock-in-trade common to the +two writers, such a phrase, for instance, as, <span class="tei tei-q">“To the +temple”</span> when the inevitable marriage ceremony is +to take place. It would be absurd to suppose that +Fletcher never used such a phrase as <span class="tei tei-q">“write nil ultra,”</span> +which is no doubt a distinguishing mark of Massinger's +style. Again, Fletcher may have worked over drafts +of scenes in the first instance written by Massinger, +and there is evidence for supposing that in many cases +revision for a revival rather than co-operation is the +clue. Massinger's good judgment would make him +an excellent reviser. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It must, however, be allowed that the large amount of agreement +between two experts such as Boyle and Bullen is +remarkable. We cannot acquit those who produced +the Folio of Beaumont and Fletcher in 1647 of negligence +in omitting to give their due to Massinger and +other collaborators. On the other hand, it might +be argued that if Massinger's share in Fletcher's plays +were as large as Boyle believes it to have been, the +Folio would for very shame have acknowledged it; +and it must be pointed out that the large mass of commendatory +verses prefixed to the Folio entertains no +doubt of the traditional authorship.<a id="noteref_537" name="noteref_537" href="#note_537"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">537</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Believing that the matter of first importance is to estimate +Massinger from the plays which he undoubtedly wrote, +I have not given above my evidence in full for the impressions +which I have formed of the <span class="tei tei-q">“collaborated”</span> +plays. The results of my study of these plays may be +<span class="tei tei-pb" id="page162">[pg 162]</span><a name="Pg162" id="Pg162" class="tei tei-anchor"></a> +summarised as follows: Massinger wrote considerable +portions of <span class="tei tei-hi"><span style="font-style: italic">The Prophetess</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The False One</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">Sir +John Van Olden Barnavelt</span></span>. His work can be traced in +<span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Bloody Brother</span></span>. He +wrote the greater part of Acts I. and V. of <span class="tei tei-hi"><span style="font-style: italic">The Queen of +Corinth</span></span>, and of Acts I. and V. of <span class="tei tei-hi"><span style="font-style: italic">The Elder Brother</span></span>. +He wrote much of the same acts in <span class="tei tei-hi"><span style="font-style: italic">The Little French +Lawyer</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Spanish Curate</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Fair Maid of the Inn</span></span>. +He may have assisted in <span class="tei tei-hi"><span style="font-style: italic">The Knight of Malta</span></span>. He +revised for subsequent performance <span class="tei tei-hi"><span style="font-style: italic">The Custom of the +Country</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Lover's Progress</span></span>. He had nothing to +do with <span class="tei tei-hi"><span style="font-style: italic">The Honest Man's Fortune</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Sea Voyage</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Double Marriage</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Beggars' Bush</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Love's Cure</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Laws of Candy</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Captain</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Cure for a Cuckold</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Island Princess</span></span>. In my opinion, Massinger's +hand can be most clearly discerned in (1) serious plays; +(2) the serious parts of plays; (3) the first and last acts +of a joint composition.<a id="noteref_538" name="noteref_538" href="#note_538"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">538</span></span></a> +</p> + +</div> + +<span class="tei tei-pb" id="page163">[pg 163]</span><a name="Pg163" id="Pg163" class="tei tei-anchor"></a> + +<hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc13" id="toc13"></a> +<a name="pdf14" id="pdf14"></a> +<a name="Appendix_IV" id="Appendix_IV" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix IV. On The Influence Of Shakspere</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The instances quoted in the text can be supplemented +by many others. Compare the diction and thought of the +following passages: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Maid of Honour</span></span><span style="font-size: 90%">, IV., 3, 61: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ministers of mercy,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Mock not calamity.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Hamlet</span></span><span style="font-size: 90%">, I., 4, 39: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Angels and ministers of grace defend us!</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Maid of Honour</span></span><span style="font-size: 90%">, V., 1, 133: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And I to make all know I am not shallow,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Will have my points of cochineal and yellow.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Twelfth Night</span></span><span style="font-size: 90%">, II., 5, 169: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Remember who commended thy yellow stockings.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Virgin Martyr</span></span><span style="font-size: 90%">, I., 1, 177: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All kind of tortures; part of which they suffer'd</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With Roman constancy.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Julius Cæsar</span></span><span style="font-size: 90%">, II., 1, 226: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Let not our looks put on our purposes,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But bear it as our Roman actors do,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With untired spirits and formal constancy.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(</span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Duke of Milan</span></span><span style="font-size: 90%">, V., 1, 128.) +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Parliament of Love</span></span><span style="font-size: 90%">, II., 2, 37: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 16.20em"><span style="font-size: 90%">Yet since thou art</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">So spaniel-like affected.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Midsummer-Night's Dream</span></span><span style="font-size: 90%">, II., 1, 205: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Use me but as your spaniel, spurn me, strike me.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Two Gentlemen of Verona</span></span><span style="font-size: 90%">, IV., 2, 14: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Yet, spaniel-like, the more she spurns my love,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The more it grows and fawneth on her still.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Emperor of the East</span></span><span style="font-size: 90%">, IV., 5, 105: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Methinks I find Paulinus on her lips.</span></div> +</div> + +<span class="tei tei-pb" id="page164">[pg 164]</span><a name="Pg164" id="Pg164" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Othello</span></span><span style="font-size: 90%">, III., 3, 341: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I found not Cassio's kisses on her lips.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Emperor of the East</span></span><span style="font-size: 90%">, V., 2, 103: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Can I call back yesterday, with all their aids</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That bow unto my sceptre? or restore</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My mind to that tranquillity and peace</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">It then enjoyed?</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Othello</span></span><span style="font-size: 90%">, III., 3, 330: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 12.60em"><span style="font-size: 90%">Not poppy, nor mandragora,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nor all the drowsy syrups of the world,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Shall ever medicine thee to that sweet sleep</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which thou owedst yesterday.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Othello</span></span><span style="font-size: 90%">, III., 3, 347: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">O, now for ever</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Farewell the tranquil mind! farewell content!</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Virgin Martyr</span></span><span style="font-size: 90%">, I., 1, 342: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">An humble modesty, that would not match</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A molehill with Olympus.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Great Duke of Florence</span></span><span style="font-size: 90%">, IV., 2, 305: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As the lowly shrub is to the lofty cedar,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or a molehill to Olympus, if compar'd,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I am to you, Sir.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Roman Actor</span></span><span style="font-size: 90%">, III., 1, 3: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 18.00em"><span style="font-size: 90%">If you but compare</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What I have suffered with your injuries</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Though great ones, I confess), they will appear</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Like molehills to Olympus.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(</span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span><span style="font-size: 90%"> also </span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Duke of Milan</span></span><span style="font-size: 90%">, I., 3, 193.)</span><a id="noteref_539" name="noteref_539" href="#note_539"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">539</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Coriolanus</span></span><span style="font-size: 90%">, V., 3, 29: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 16.20em"><span style="font-size: 90%">My mother bows;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As if Olympus to a molehill should</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In supplication nod.</span></div> +</div> + +<span class="tei tei-pb" id="page165">[pg 165]</span><a name="Pg165" id="Pg165" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Duke of Milan</span></span><span style="font-size: 90%">, III., 1, 204: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thou didst not borrow of Vice her indirect,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Crooked, and abject means.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">2 Henry IV</span></span><span style="font-size: 90%">, IV., 5, 184: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">God knows, my son,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By what by-paths and indirect crook'd ways</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I met this crown.</span><a id="noteref_540" name="noteref_540" href="#note_540"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">540</span></span></a></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Great Duke of Florence</span></span><span style="font-size: 90%">, II., 2, 12: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Yes, and drink more in two hours</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Than the Dutchman or the Dane in four and twenty.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Hamlet</span></span><span style="font-size: 90%">, I., 4, 18: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This heavy-headed revel east and west</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Makes us traduced and tax'd of other nations.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">They clepe us drunkards, and with swinish phrase</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Soil our addition.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(</span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span><span style="font-size: 90%"> also </span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Othello</span></span><span style="font-size: 90%">, II., 3, 78-87.) +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Parliament of Love</span></span><span style="font-size: 90%">, IV., 5, 137: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 23.40em"><span style="font-size: 90%">Now, as a schoolboy,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Does kiss the rod that gave him chastisement.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Richard II</span></span><span style="font-size: 90%">, V., 1, 31: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And wilt thou, pupil-like,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Take thy correction mildly, kiss the rod?</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Two Gentlemen of Verona</span></span><span style="font-size: 90%">, I., 2, 58: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That, like a testy babe, will scratch the nurse,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And presently, all humbled, kiss the rod.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Unnatural Combat</span></span><span style="font-size: 90%">, IV., 2, 6: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Let his passion work, and like a hot-reined horse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">'Twill quickly tire itself.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Henry VIII</span></span><span style="font-size: 90%">, I., 1, 132-4: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 28.80em"><span style="font-size: 90%">Anger is like</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A full-hot horse, who being allow'd his way</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Self-mettle tires him.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Emperor of the East</span></span><span style="font-size: 90%">, III., 1, 2: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 18.00em"><span style="font-size: 90%">A sudden fever</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Kept me at home.</span></div> +</div> + +<span class="tei tei-pb" id="page166">[pg 166]</span><a name="Pg166" id="Pg166" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Henry VIII</span></span><span style="font-size: 90%">, I., 1, 5: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 18.00em"><span style="font-size: 90%">An untimely ague</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Stay'd me a prisoner in my chamber.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">A Very Woman</span></span><span style="font-size: 90%">, II., 1, 20: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The furnace of your father's anger.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Bondman</span></span><span style="font-size: 90%">, III., 3, 170: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 23.40em"><span style="font-size: 90%">Or yield up</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our bodies to the furnace of their fury,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thrice heated with revenge.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Henry VIII</span></span><span style="font-size: 90%">, I., 1, 140: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Heat not a furnace for your foe so hot</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That it do singe yourself.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Virgin Martyr</span></span><span style="font-size: 90%">, V., 2, 158: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 23.40em"><span style="font-size: 90%">And now, in the evening,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When thou should'st pass with honour to thy rest,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Wilt thou fall like a meteor?</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Henry VIII</span></span><span style="font-size: 90%">, III., 2, 226: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">I shall fall</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Like a bright exhalation in the evening,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And no man see me more.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Guardian</span></span><span style="font-size: 90%">, V., 4, 115: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 16.20em"><span style="font-size: 90%">In this casket are</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Inestimable jewels.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Richard III</span></span><span style="font-size: 90%">, I., 4, 27: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Inestimable stones, unvalued jewels.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Picture</span></span><span style="font-size: 90%">, I., 2, 17: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 18.00em"><span style="font-size: 90%">Since this bubble honour</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Which is indeed the nothing soldiers fight for)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With the loss of limbs or life, is in my judgment</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Too dear a purchase.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">As You Like It</span></span><span style="font-size: 90%">, II., 7, 152: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Seeking the bubble reputation</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Even in the cannon's mouth.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Picture</span></span><span style="font-size: 90%">, II., 2, 136: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 16.20em"><span style="font-size: 90%">It continuing doubtful</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Upon whose tents plum'd victory would take</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her glorious stand.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Othello</span></span><span style="font-size: 90%">, III., 3, 349: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Farewell the plumèd troops, and the big wars,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That make ambition virtue!</span></div> +</div> + +<span class="tei tei-pb" id="page167">[pg 167]</span><a name="Pg167" id="Pg167" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Virgin Martyr</span></span><span style="font-size: 90%">, V., 2, 82: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">There is a scene that I must act alone.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Romeo and Juliet</span></span><span style="font-size: 90%">, IV., 3, 19: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My dismal scene I needs must act alone.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Great Duke of Florence</span></span><span style="font-size: 90%">, III., 1, 57: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What you deliver to me shall be lock'd up</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In a strong cabinet, of which you yourself</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Shall keep the key.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Hamlet</span></span><span style="font-size: 90%">, I., 3, 85. +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">'Tis in my memory locked,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And you yourself shall keep the key of it.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Believe as You List</span></span><span style="font-size: 90%">, I., 2, 18: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">When he smiles, let such</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Beware as have to do with him, for then,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Sans doubt, he's bent on mischief.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Hamlet</span></span><span style="font-size: 90%">, I., 5, 107: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 21.60em"><span style="font-size: 90%">Meet it is I set it down,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That one may smile, and smile, and be a villain.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Old Law</span></span><span style="font-size: 90%">, IV., 1, 36: +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +Besides, there will be charges saved too; the same rosemary +that serves for the funeral will serve for the wedding.</span><a id="noteref_541" name="noteref_541" href="#note_541"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">541</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Hamlet</span></span><span style="font-size: 90%">, I., 2, 180: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thrift, thrift, Horatio! the funeral baked meats</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Did coldly furnish forth the marriage tables.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Parliament of Love</span></span><span style="font-size: 90%">, III., 3, 133: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">A hurtful vow</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Is in the breach of it better commended,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Than in the keeping.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Hamlet</span></span><span style="font-size: 90%">, I., 4, 15: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 34.20em"><span style="font-size: 90%">It is a custom</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">More honour'd in the breach than the observance.</span></div> +</div> + +<span class="tei tei-pb" id="page168">[pg 168]</span><a name="Pg168" id="Pg168" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Guardian</span></span><span style="font-size: 90%">, V., 1, 44: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 18.00em"><span style="font-size: 90%">These woods, Severino,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Shall more than seem to me a populous city.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Othello</span></span><span style="font-size: 90%">, I., 1, 77: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 16.20em"><span style="font-size: 90%">The fire is spied</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In populous cities.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(</span><span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span><span style="font-size: 90%"> also IV., 1, 64.) +</span></p> + +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We may infer that Massinger studied the Folio of 1623 +carefully. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc15" id="toc15"></a> +<a name="pdf16" id="pdf16"></a> +<a name="Appendix_V" id="Appendix_V" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix V. Warburton's List</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(<span class="tei tei-hi"><span style="font-style: italic">Lansdowne MSS., B. M., 807.</span></span>) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This volume contains three plays, the only survivors of +Warburton's collection: <span class="tei tei-hi"><span style="font-style: italic">The Queen of Corsica</span></span>, by Fran. +Jaques, <span class="tei tei-hi"><span style="font-style: italic">The Second Maiden's Tragedy</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">The Bugbears</span></span>, +together with a fragment of a fourth, R. Wild's <span class="tei tei-hi"><span style="font-style: italic">Benefice</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On the back of the first leaf of this volume is attached the +list of Warburton's collection, in his own hand. The entries +referring to Massinger are as follows: I preserve the spelling. +</p> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Minerva's Sacrifice.</span></span> Phill. Masenger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">The Forc'd Lady a T.</span></span> Phill. Massinger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Antonio & Vallia</span></span>, by Phill. Massinger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">The Woman's Plott.</span></span> Phill. Massinger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">The Tyrant</span></span>, a tragedy, by Phill. Massenger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Philenzo and Hipolito</span></span>, a C. by Phill. Massenger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">The Judge</span></span>, a C. by Phill. Massenger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Fast and Welcome</span></span>, by Phill. Massinger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Believe as You List</span></span>, C. by Phill. Massinger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">The Honour of Women</span></span>, a C. by P. Massinger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Alexius or the Chaste Gallant</span></span>, T. P. Massinger.</div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">The Noble Choise</span></span>, T.C. P. Massinger.</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span> is attributed to Wm. Rowley. The +versification of the play which we have under that name +is far above Rowley's powers, nor are there signs of collaboration +in the play, as far as we can tell. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The list has been carefully discussed by Mr. W. W. Greg in +his article, <span class="tei tei-q">“The Bakings of Betsy,”</span> in <span class="tei tei-hi"><span style="font-style: italic">The Library</span></span> (July, 1911). +</p> + +<span class="tei tei-pb" id="page169">[pg 169]</span><a name="Pg169" id="Pg169" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +He puts the matter thus: Warburton enters <span class="tei tei-hi"><span style="font-style: italic">Minerva's Sacrifice</span></span> +and <span class="tei tei-hi"><span style="font-style: italic">The Forc'd Lady</span></span> as above. In the <span class="tei tei-hi"><span style="font-style: italic">Stationers' Register</span></span>, +Sept. 9, 1653, these titles are given as alternatives for the same +play. This might mean that Moseley was trying to smuggle +through two plays for a single fee. Mr. Greg is inclined to +give Moseley the benefit of the doubt, and to suppose that there +were plays existing in divergent versions, which would justify +the double titles. If, however, Moseley was honest, Warburton +cannot be correct. Mr. Greg suggests that Warburton, being +interested in old plays, and having access to the <span class="tei tei-hi"><span style="font-style: italic">Stationers' +Register</span></span>, drew up for his own use a list, mainly based on +Moseley's entries, containing the titles of such pieces as he +thought it might be possible to recover, and added the names of +those in his possession. The cook destroyed some of the plays, +and Warburton, discovering his loss, added the famous memorandum +to the text without remembering that it contained the +names of plays which he did not possess. In this case the +damage done by <span class="tei tei-q">“Betsy”</span> would not be so extensive as has +been believed. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc17" id="toc17"></a> +<a name="pdf18" id="pdf18"></a> +<a name="Appendix_VI" id="Appendix_VI" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix VI. A Metrical Peculiarity In Massinger</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Our dramatic writers must have often felt that their metre +required variety to relieve it from the dangers of facility and +monotony. No doubt the same problem suggested itself to +Homer and the Greek dramatists. In the former, the frequent +pauses after the first foot or in the middle of the second +foot, in the latter, the much-discussed pauses after the first +foot, are as likely to be due to a desire for variety as to any +special emphasis on the particular words thus singled out.<a id="noteref_542" name="noteref_542" href="#note_542"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">542</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In what ways did the Elizabethans secure variety?<a id="noteref_543" name="noteref_543" href="#note_543"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">543</span></span></a> +</p> + +<span class="tei tei-pb" id="page170">[pg 170]</span><a name="Pg170" id="Pg170" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +1. By the use of rhyme. This was the early solution. +Massinger does not often resort to rhyme, though in some +of his plays, notably in <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>, he several times +employs the well-known couplet at the end of a scene. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +2. By the free use of the eleven-syllable line. This was +Fletcher's solution. It is astonishing how the pleasure which +the occasional use of this licence gives us turns to a feeling +of satiety and weakness when it is too freely employed, so +that many passages in Fletcher sound like a horse with a fit +of roaring. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +3. In the free use of trisyllabic feet. This fact has been +recently brought before the public by Mr. Bayfield in connexion +with Shakspere. There is no need to quote instances +of this common and easy expedient. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +4. By the occasional use of short lines. As has been pointed +out above,<a id="noteref_544" name="noteref_544" href="#note_544"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">544</span></span></a> Massinger is a strict metrist, and does not often +resort to this liberty, even in rapid conversation. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +5. By skilful variation of pauses, such as we find in Milton, +Tennyson, and most of our modern writers of blank verse. +Massinger's flexible and meandering sentences contain many +examples of such variation. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I believe that he had another shaft in his quiver. He occasionally +suppressed a short syllable at the close of the line, +and more rarely in the early part, with the result that an +anapaestic lilt of some effectiveness makes its appearance. +An example from <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span> will make this clear. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Pulcheria.</span></span><span style="font-size: 90%"> What ís thy náme?</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Athenais.</span></span><span style="font-size: 90%"> The forlorn Áthenáis (I., 1, 342).</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +If the stresses are placed as above, it is clear that there is a +syllable suppressed after the word <span class="tei tei-q">“forlorn,”</span> a three-syllable +foot in the third place, and an anapaestic lilt, <span class="tei tei-q">“the forlorn.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Nor is Massinger alone in this device; instances from other +poets are quoted below. This theory conflicts with the dictum +<span class="tei tei-pb" id="page171">[pg 171]</span><a name="Pg171" id="Pg171" class="tei tei-anchor"></a> +of Schmidt in his Shaksperian lexicon, that words like +<span class="tei tei-q">“forlorn,”</span> <span class="tei tei-q">“complete,”</span> <span class="tei tei-q">“supreme,”</span> <span class="tei tei-q">“conceal'd,”</span> can be +stressed either on the first or second syllable, the stress +being on the first syllable when the stress in the following +word falls on the first syllable. Presumably Schmidt would +have scanned the line in question thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What ís thy náme? The fórlorn Áthenáis.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Schmidt's dictum, however, will not explain all the cases +quoted below, and it is worth considering whether it is not a +simpler solution of the problem to suppose that our Elizabethan +poets combined uniformity of accent with variety in +the metre, sometimes applied more than once in the same line. +It is clear that lines which contain a past participle like <span class="tei tei-q">“condemned”</span> +cannot be used for the purposes of this argument, +as such words may have been scanned as two syllables or three. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The following cases will support my suggestion. The list +does not profess to be a complete summary of the evidence. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +1. <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, III., 4, 139: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To búild me úp a compléte^prínce, 'tis gránted.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +2. <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>, III., 1, 32: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Mónkeys and páraquíttos consúme^thóusands.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(Here the first foot is a trochee. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">infra</span></span>, Nos. 6, 8, 20, +21, 36, 43, 48.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +3. <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, I., 1, 65: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of stránge and resérved párts; but a gréat^sóldier.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +4. <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, II., 1, 143: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Which súllied wíth the tóuch of impúre^hánds.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +5. <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, III., 3, 89: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Were thís sad spéctaclé for secúre^gréatness.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +6. <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, IV., 3, 192: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Máde for your sátisfáction, the póor^wrétch.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +7. <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, V., 2, 20: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All éngines tó assáult him. Indéed^vírtue.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +8. <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, I., 1, 81: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ín a relígious schóol, where divíne^máxims.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +9. <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, I., 3, 152: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Have cálled your ánger ón, in a frówn^shów it.</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page172">[pg 172]</span><a name="Pg172" id="Pg172" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +10. <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, II., 4, 58: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Displéasures agaínst^thóse, withóut whose mércy.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +11. <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, III., 2, 36: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I é'er had íreful fiérceness, a stéel'd^héart.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +12. <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, IV., 3, 79: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Forsáke a sevére,^náy, impérious místress.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +13. <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, V., 1, 7: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That wíll for éver árm me agaínst^féars.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +14. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, I., 1, 127: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And íf my grácious úncle, the gréat^dúke.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +15. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, I., 2, 29: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To thínk her wórthy of yóu, besídes^chíldren.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +16. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, II., 1, 133: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And máke a pláin discóvery. The dúke's^cáre.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +17. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, II., 3, 66: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The swéetness óf her bréath. Such a bráve^státure.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +18. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, III., 1, 66: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">On whát desígn, or whíther, the dúke's^wíll.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +19. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, IV., 1, 102: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And píety bé forgótten. The dúke's^lúst.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +20. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, V., 2, 3: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ín the great státes it cóvers. The dúke's^pléasure.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +21. <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, V., 3, 127: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Équal offénders, whát we shall spéak^poínts.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +22. <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>, III., 3, 78: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Relígious chárity; to sénd^ínfidéls.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +23. <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, III., 3, 90: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And sénsual báseness; íf thy profáne^hánd.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +24. <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, IV., 2, 60: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">'Tis ímpióus in mán to prescríbe^límits.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +25. <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, V., 3, 179: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">There's nó conténding agáinst^déstiný.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +26. <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., 3, 42: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Not fár off dístant, appéars^dím with énvy.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +27. <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span>, IV., 1, 35: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Yet wáking, I' ne'er chérished obscéne^hópes.</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page173">[pg 173]</span><a name="Pg173" id="Pg173" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +28. <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, I., 1, 144: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And secúre^gréatness wíth the trúe relátion.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +29. <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, I., 2, 10: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A póint of jústice, his wórds^fúll in méasure.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +30. <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, II., 2, 265: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Undergó the sáme^púnishmént which óthers.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +31. <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>, I., 1, 285: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This profáne^lánguage. Práy you, bé a mán.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +32. <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>, I., 2, 21: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your hónour detésts^fláttery, Í might sáy.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +33. Epilogue 2: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Tó the still dóubtful áuthor, at whát^ráte.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +34. <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, II., 3, 26: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You nów expréss yoursélf a compléte^lóver.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +35. <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, III., 2, 149: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To háve the gréatest bléssing, a trúe^fríend.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +36. <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, IV., 1, 95: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Cást yourself ón her cóuch. Oh, divíne^dóctor!</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +37. <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, V., 1, 69: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The módern víces. Begín;^réad the bílls.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +38. <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, V., 1, 184: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The ápplicátion, ánd in a pláin^stýle.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +39. <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, V., 1, 520: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Led thríce through Páris; thén at the cóurt,^gáte.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +40. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, I., 1, 48: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of the sóuls^rávishing músic; the sáme^áge.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(A highly irregular line.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +41. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, I., 2, 73: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Are búried in hér; the lóud^nóise of|wár.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +42. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, I., 2, 106: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her kíngly cáptive abóve^áll the wórld.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +43. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, I., 2, 184: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Dóted on thís Semiramís, a kíng's^wífe.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(The third foot here is u u u u.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +44. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, I., 2, 248: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Beyónd my júst propórtion. Abóve^wónder!</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page174">[pg 174]</span><a name="Pg174" id="Pg174" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +45. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, II., 1, 35: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Appéar, and, what's móre, appéar^pérfect, híss me.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +46. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, II., 1, 66: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their fáirest íssue to méet^sénsuálly.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +47. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, II., 1, 165: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My énd must bé to stánd in a córn^fíeld.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +48. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, II., 2, 286: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Í should fix hére, where bléssings beyónd^hópe.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +49. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, III., 2, 40: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">They thánk'd the bríngers óf it. The póor^lády.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +50. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, III., 5, 161: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What cán you stáke against it. A quéen's^fáme.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +51. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, IV., 4, 64: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If thís take nót, I am chéated. To slíp^ónce.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +52. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, V., 3, 11: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Befóre he góes to súpper. Ha! Is my hóuse^túrn'd.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(The fourth foot is u u u —.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +53. <span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, V., 3, 40: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And néed no tútor. Thís is the gréat^kíng.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It will be noted that the rhythm often occurs in a broken +line—<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, a line divided between two speakers. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Nos. 7, +20, 36, 44, 50, 51, 52, 53. (<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, +I., 1, 342.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The False One</span></span>, I., 1: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What néarer plédges chállenge: résign^ráther.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The False One</span></span>, V., 4: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The stóry óf a supréme^mónarchý.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Prophetess</span></span>, I., 3: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Chéerful and gráteful tákers the góds^lóve.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Prophetess</span></span>, I., 3: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nor múst I revéal^fúrther, till you cléar it.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Prophetess</span></span>, III., 1: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For ládies of high^márk, for divíne^beáuties.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Lover's Progress</span></span>, I., 1: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To Cúpid agáinst^Hýmen! Óh, mine hónour.</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page175">[pg 175]</span><a name="Pg175" id="Pg175" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Fair Maid of the Inn</span></span>, I., 1: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A compléte^cóurtier! máy I livé to sée him.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret</span></span>, IV., 2: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thou dóst throw chárms upón me, agáinst^whích.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret</span></span>, IV., 2: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Aṅd the place whére, the pálace, agáinst,^áll.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Jew of Malta</span></span>, I., 2: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And extréme^tórtures óf the fíery déep.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Dr. Faustus</span></span>, I., 1: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And Í that háve with concíse^sýllogísms.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Nero</span></span>, I., 4: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">O sevére^ánger óf the highest góds.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Rule a Wife</span></span>, I., 1: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For thére I dáre be bóld to appéar^óften.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Maid in the Mill</span></span>, I., 3: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Now by' the sóul of lóve, a divíne^créature.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>, II., 1, 11: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I'll téll you ín a líttle. The gréat^dúke.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I believe that many of the rhythms from Shakespeare quoted +by Schmidt and by Mr. R. Bridges in his <span class="tei tei-q">“Milton's Prosody,”</span> +can be explained in this way. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc19" id="toc19"></a> +<a name="pdf20" id="pdf20"></a> +<a name="Appendix_VII" id="Appendix_VII" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix VII. </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">Believe As You List</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This play was edited by Mr. T. Crofton Croker, with a short +Preface, in the Percy Society's Publications, Vol. XXVII., +1849. The Tudor Society has published a photographic +facsimile of the MS., now in the British Museum (Egerton +MSS., 2828). <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> B.M. Catalogue of Additions, 1907, p. 384. +The MS. was purchased for the Museum at a sale on November +27, 1900, for £69. It is of paper. The original document, +measuring 12-1/2 inches by 7-1/2 inches, comprises folios +5 to 29; folios 2 and 3 are the old vellum cover. +</p> + +<span class="tei tei-pb" id="page176">[pg 176]</span><a name="Pg176" id="Pg176" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Mr. Croker's account of the MS. (Pref., p. ix) runs as follows: +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“The MS., from its commencement to the termination of the +licence, was written on forty-eight pages of foolscap paper, +in a small hand, sometimes not easy to be read. Of the +second leaf only an inconsiderable portion remains, and the +top and bottom of the paper have been injured in some places +by damp. In four additional pages after the licence, the Prologue, +Epilogue, and property directions are preserved. +The MS. is stitched up in a parchment cover, which appears to +have been a cancelled <span class="tei tei-q">‘Indenture’</span> of Elizabeth's reign. +On the outside page of this parchment, or back of the cancelled +indenture, is written the title, in what I agree with Mr. +Beltz in regarding as Massinger's autograph.”</span><a id="noteref_545" name="noteref_545" href="#note_545"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">545</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +From the letter of Mr. S. Beltz, given by Mr. Crofton Croker, +we learn that Gifford had more than once lamented to Mr. +Croker the disappearance of this MS., which Colley Cibber +had seen;<a id="noteref_546" name="noteref_546" href="#note_546"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">546</span></span></a> and that the MS. had formerly been in David +Garrick's hands. Mr. S. Beltz also says: <span class="tei tei-q">“It is well known +from other sources that the play was acted on May 7, 1631.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The MS. had belonged to George Beltz, Lancaster Herald, +and executor of Garrick's widow. His brother Samuel found +it among <span class="tei tei-q">“a mass of rubbish.”</span> It was in the possession of +J. O. Halliwell Phillips at one time. This well-known Shaksperian +scholar inserted a note about it on p. 1, in which he +says, <span class="tei tei-hi"><span style="font-style: italic">inter alia</span></span>: <span class="tei tei-q">“This is one of the few play-house copies of +any English plays before the suppression of theatres known +to exist. I strongly suspect it has some corrections in Massinger's +own autograph.”</span> +</p> + +<span class="tei tei-pb" id="page177">[pg 177]</span><a name="Pg177" id="Pg177" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Sir George F. Warner, in the <span class="tei tei-hi"><span style="font-style: italic">Athenæum</span></span> (January 19, 1901) +discusses the MS. He believes it is in Massinger's own hand, +as the alterations are made <span class="tei tei-foreign"><span style="font-style: italic">currente calamo</span></span>. This fact can +easily be verified from a perusal of the MS. Sir G. Warner, +after comparing the MS. with the Henslowe document at +Dulwich, arrived at the conviction that the writing was +Massinger's. He considers that the title and marginal stage-directions +are due to the manager, and that the Prologue and +Epilogue are in a third hand. He points out that <span class="tei tei-q">“Carthage”</span> +is written over <span class="tei tei-q">“Venice”</span> (Crofton Croker, p. 41), <span class="tei tei-q">“Affricque”</span> +over <span class="tei tei-q">“Europe”</span> (p. 44), and <span class="tei tei-q">“Berecinthius”</span> over <span class="tei tei-q">“Sampayo”</span> +(p. 79).<a id="noteref_547" name="noteref_547" href="#note_547"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">547</span></span></a> He proceeds to explain the reason for these alterations, +and then emends some of Mr. Croker's mistakes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +With all due deference to the great authority of Sir G. +Warner, I do not feel certain that this hand is that of the appeal +to Henslow. On the other hand, we must remember that +seventeen years had elapsed, and that it is unlikely that a +poor man like Massinger would have employed an amanuensis. +Capital <span class="tei tei-q">“I,”</span> <span class="tei tei-q">“s,”</span> <span class="tei tei-q">“f,”</span> and <span class="tei tei-q">“e”</span> are alike in the two documents; +but <span class="tei tei-q">“ve”</span> in <span class="tei tei-q">“have ever”</span> did not seem to me to be +the same, nor did any of the <span class="tei tei-q">“r's”</span> at Dulwich resemble the +hand in the play.<a id="noteref_548" name="noteref_548" href="#note_548"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">548</span></span></a> +</p> + +<span class="tei tei-pb" id="page178">[pg 178]</span><a name="Pg178" id="Pg178" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +There are few mistakes in the MS. beyond those which the +writer has corrected himself. The corrections and additions +all appear to be in the same hand. The simplest explanation +of the MS. is to suppose that Massinger had before him the +MS. of the play which had been condemned by the Censor, +and that he copied it out again, making the necessary changes +of name, etc. This would account for one or two mistakes +which the writer has corrected.<a id="noteref_549" name="noteref_549" href="#note_549"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">549</span></span></a> In other passages we can +see his judgment at work, altering the phraseology,<a id="noteref_550" name="noteref_550" href="#note_550"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">550</span></span></a> or expanding +one line into two.<a id="noteref_551" name="noteref_551" href="#note_551"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">551</span></span></a> Sometimes a word is repeated +from a previous line and then cancelled,<a id="noteref_552" name="noteref_552" href="#note_552"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">552</span></span></a> as if the writer had +been tired, as he might well be. The writing combines German +and Italian forms. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The play was remodelled from its original form by order of +the Censor.<a id="noteref_553" name="noteref_553" href="#note_553"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">553</span></span></a> Sir G. Warner has pointed out that it is derived +from <span class="tei tei-q">“the strangest adventure that ever happened, either +in the ages passed or present: containing a discourse concerning +the successe of the King of Portugal, Dom Sebastian. London: +printed for Frances Henson, dwelling in the Blackfriers, 1601.”</span><a id="noteref_554" name="noteref_554" href="#note_554"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">554</span></span></a> +</p> + +<span class="tei tei-pb" id="page179">[pg 179]</span><a name="Pg179" id="Pg179" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This book is the story of a claimant to the throne of Portugal. +On p. 78 we have <span class="tei tei-q">“the markes and signes which the King of +Portugall Dom Sebastian beares naturally on his body.”</span> +Twenty-two in all are given. Among them are: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(1) He hath the right hand greater than the left.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(2) The right arme longer than the left. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(5) The right legge is longer than the left. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +(6) The right foote greater than the other. +</span></p> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Compare these statements with the words erased in the MS., +folio 8.<a id="noteref_555" name="noteref_555" href="#note_555"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">555</span></span></a> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +1 </span><span class="tei tei-hi"><span style="font-size: 90%; font-variant: small-caps">Marchant</span></span><span style="font-size: 90%">: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His verie hand legge and foote, and the lefte side</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Shorter than on the right.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(12) He hath little pimples on his face and hands.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span><span style="font-size: 90%"> 2 </span><span class="tei tei-hi"><span style="font-size: 90%; font-variant: small-caps">Marchant</span></span><span style="font-size: 90%">: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The moles upon</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His face and hands</span><a id="noteref_556" name="noteref_556" href="#note_556"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">556</span></span></a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(21) Another marke or wound upon the head.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(22) Another upon the right eye-brow.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span><span style="font-size: 90%"> 3 </span><span class="tei tei-hi"><span style="font-size: 90%; font-variant: small-caps">Marchant</span></span><span style="font-size: 90%">: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The scarres, caused by his hurts,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">On his right browe and head.</span><a id="noteref_557" name="noteref_557" href="#note_557"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">557</span></span></a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(14) He lackes one tooth on the right side in the neather jaw.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-size: 90%; font-variant: small-caps">Berecinthius</span></span><span style="font-size: 90%">: +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 18.00em"><span style="font-size: 90%">The hollownesse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of his under jawe, occasion'd by the losse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of a tooth pull'd out by his chirurgion.</span><a id="noteref_558" name="noteref_558" href="#note_558"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">558</span></span></a></div> +</div> + +<span class="tei tei-pb" id="page180">[pg 180]</span><a name="Pg180" id="Pg180" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(18) The lip of Austriche,</span><a id="noteref_559" name="noteref_559" href="#note_559"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">559</span></span></a><span style="font-size: 90%"> like his</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Grandfather Charles the Fift, Emperor,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Father to his mother, and of his</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Grandmother, Catherine, Queen of</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Portugall, mother to his father, sister</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To the said Charles the Fift.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Compare the original reading in the play,<a id="noteref_560" name="noteref_560" href="#note_560"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">560</span></span></a> <span class="tei tei-q">“His nose! his +German lippe!”</span> Over German <span class="tei tei-q">“very”</span> has been written, and +underneath is traceable the <span class="tei tei-q">“A”</span> of Austrian. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +These passages leave no doubt as to the derivation of the +earlier part of the story which Massinger dramatised. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On p. 45 of <span class="tei tei-hi"><span style="font-style: italic">The Strangest Adventure</span></span> we read that Dom +Sebastian comes to Venice <span class="tei tei-q">“very poorely, and robbed by five +of his own servants, which he entertained in Cicilie.”</span> This +incident occurs in <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, Act I. At Venice he +was persecuted by the <span class="tei tei-q">“embassadour of Castile,”</span> whose name +is not given, but whose place in the play is taken by Flaminius. +On p. 49 he is said to have been beaten by the Moors in Africa +in 1578, and to be now (1600) a prisoner at Venice. In <span class="tei tei-hi"><span style="font-style: italic">Believe +as You List</span></span> the period of twenty-two years is referred to as +the interval during which Antiochus has been travelling about +the world.<a id="noteref_561" name="noteref_561" href="#note_561"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">561</span></span></a> On p. 50 Dom Sebastian arrives at Venice with +<span class="tei tei-q">“but one poor gazete.”</span> In the play Antiochus, after being +robbed by his servants, finds <span class="tei tei-q">“a waste paper”</span> lying near him, +and speaks as follows: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 18.00em"><span style="font-size: 90%">There is something writ more.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Why this small piece of silver? What I read may</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Reveal the mystery: </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">Forget thou wert ever</span></span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Called King Antiochus. With this charity</span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">I enter thee a beggar.</span><span style="font-size: 90%">”</span></span><a id="noteref_562" name="noteref_562" href="#note_562"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">562</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On p. 67 Sebastian is set free, and on p. 86 he goes to +Florence, on his way to Marseilles, with some talk of trying +to establish his identity in Holland. But the narrative closes +abruptly, and we know no more of the claimant to the Portuguese +throne from <span class="tei tei-hi"><span style="font-style: italic">The Strangest Adventure</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The ineffectiveness of the play may be partly due to the +necessity of altering the original modern setting to an ancient +<span class="tei tei-pb" id="page181">[pg 181]</span><a name="Pg181" id="Pg181" class="tei tei-anchor"></a> +one. It is hard, for example, to see how the monk Sampayo was +metamorphosed into Berecinthius, the fat priest of Cybele. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Mr. Croker's reprint was the cause of a very pretty literary +quarrel between the Shakespeare Society and the Percy +Society. A writer who signed himself <span class="tei tei-q">“A Member of both +Societies”</span> published a pamphlet animadverting on Mr. +Croker's abilities as an editor,<a id="noteref_563" name="noteref_563" href="#note_563"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">563</span></span></a> and Mr. Croker replied in no +measured terms. The documents may be seen at the British +Museum. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The anonymous writer, working on the many indications +given in the marginal notes, reconstructed the cast of <span class="tei tei-hi"><span style="font-style: italic">Believe +as You List</span></span>.<a id="noteref_564" name="noteref_564" href="#note_564"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">564</span></span></a> <span class="tei tei-q">“My cast,”</span> he says, <span class="tei tei-q">“has been a work of difficulty, +and, in the case of some of the minor performers, a +matter of considerable doubt, more especially as a few of them +doubled or even trebled their parts; and as we here see (the +only instance of the kind I am acquainted with), perhaps +exchanged characters during the progress of the play.</span> +</p> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Antiochus J. Taylor.<a id="noteref_565" name="noteref_565" href="#note_565"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">565</span></span></a></div> +<div class="tei tei-l" style="text-align: left">Flaminius J. Lowin.</div> +<div class="tei tei-l" style="text-align: left">Lentulus R. Robinson.</div> +<div class="tei tei-l" style="text-align: left">Marcellus R. Benfield.</div> +<div class="tei tei-l" style="text-align: left">Berecinthius T. Pollard.</div> +<div class="tei tei-l" style="text-align: left">Chrysalus E. Swanston.</div> +<div class="tei tei-l" style="text-align: left">Demetrius W. Patrick.</div> +<div class="tei tei-l" style="text-align: left">Amilcar — Rowland.</div> +<div class="tei tei-l" style="text-align: left">1 Merchant J. Honeyman.</div> +<div class="tei tei-l" style="text-align: left">2 Merchant W. Penn.</div> +<div class="tei tei-l" style="text-align: left">3 Merchant — Curt.</div> +<div class="tei tei-l" style="text-align: left">Calistus T. Hobbes.</div> +<div class="tei tei-l" style="text-align: left">Titus R. Baxter.</div> +<div class="tei tei-l" style="text-align: left">Queen to Prusias — Ball.</div> +<div class="tei tei-l" style="text-align: left">Cornelia — Nick.</div> +<div class="tei tei-l" style="text-align: left">Courtesan — Boy.</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“With regard to the three female parts, and another of a +Moorish woman,<a id="noteref_566" name="noteref_566" href="#note_566"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">566</span></span></a> we are left much in the dark, and I have +placed names against them with considerable hesitation.</span> +</p> + +<span class="tei tei-pb" id="page182">[pg 182]</span><a name="Pg182" id="Pg182" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“The actors who doubled their parts were W. Penn, who +was also a Jailor; Rowland, who was also King Prusias; +Patrick, who was also a Captain; and Baxter, who was also an +officer and a servant, besides, as well as we can judge, delivering +a speech or two as Demetrius. Rowland must also have +trebled his small parts. Besides these, we hear in the course +of the play of W. Mago, Gascoine, Herbert, and Harry Wilson; +the last was a singer.... It need hardly be added that the +'tragedy' was got up and acted by the Company called the +King's Players, all the names being those of performers in that +association in 1631.”</span> +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc21" id="toc21"></a> +<a name="pdf22" id="pdf22"></a> +<a name="Appendix_VIII" id="Appendix_VIII" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix VIII. Collation Of Ms. Of </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">Believe As You List</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This play is accessible to the general public at present in +Colonel Cunningham's edition of Massinger, and in Mr. +Arthur Symons's edition in <span class="tei tei-q">“The Mermaid Series.”</span> An examination +of the original MS., now in the British Museum, shows +that Cunningham's text is not always correct. Though an exhaustive +collation of the MS. is not necessary, several points +of interest emerge from a study of the original document, which +I have digested here. (C. = Cunningham's edition; MS. = +Manuscript reading. Brackets signify Cunningham's conjectural +additions, which he has not always taken the trouble +to indicate.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Page 595. There is no list of dramatis personae in MS. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1.—C.: Enter Antiochus and a Stoic. The three servants +enter after line 118. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Antiochus Stoic in philosopher's habits; Chrysalus +with a writing, Syrus, Geta, bondmen. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 26.—C.: Stoic. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Stoic: Hermit (cancelled). +</p> + +<span class="tei tei-pb" id="page183">[pg 183]</span><a name="Pg183" id="Pg183" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 56.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Old (He) sper with his fierce beams (scorch)ing in vain</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Their (wives, their sisters and their tender daughters).</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: The line is much damaged, being the last on the +page. A mention of the old after the young +(lines 52 to 55) seems to be required. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I read it thus: Olde men with sil ... in vain. +There is no trace of 57, but it is required by +the sense. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 60.—MS.: The soldiers' greedy lusts. <span class="tei tei-q">“Greedy”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 85.—C.: A prey so precious and so dearly purchased. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: A prey so precious and dearly purchased. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Precious”</span> is scanned as a trisyllable. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 117.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">The imperious waves</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Of my) calamities have already fallen.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: <span class="tei tei-q">“Of my”</span> is not in MS. The last word of 118 is +<span class="tei tei-q">“Swollen.”</span> The word <span class="tei tei-q">“Marvell”</span> can be seen +at the end of a line after 118. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Here comes a hiatus of two pages. No doubt +Antiochus had a fairly long soliloquy. It is impossible +to tell how many lines are lost here, as +the characters seem to be conducting a rapid dialogue, +in which it is not necessary to suppose +that a whole line was assigned to each speaker +at a time. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 119.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Despair with sable wings</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Sail-stretch'd ab)ove my head.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Ore my head. A verb is wanted. (?) Sail-stretch'd +flies o'er my head. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 121.—MS.: ... ius furnished me. The line begins with +a name to which there is no clue, probably introduced +in the part now lost. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 122.—C.: (And) make my first appearance like myself. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: Made ? Which made, etc.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 123.—C.: (Have these) disloyal villains ravished from +me. Addition required by sense. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 124.—C.: (Wret)ch that I was. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: <span class="tei tei-q">“ch”</span> at end of a word which has disappeared. +<span class="tei tei-q">“Wretch”</span> gives the sense. +</p> + +<span class="tei tei-pb" id="page184">[pg 184]</span><a name="Pg184" id="Pg184" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 125.—C.: (With) such a purchase. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Such a purchase. The first word in the line has +disappeared. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 126.—C.: Without (the) gold to fee an advocate. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Without gold to fee an advocate. The first word +in the line has disappeared. (?) And. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 127.—C.: (To) plead my royal title, nourish hope. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Plead my royal title, nourish hope. The first word +in the line has disappeared. <span class="tei tei-q">“To”</span> is required. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 129.—C.: Wanting the outer gloss. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Wanting the outward gloss. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 153.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Bids me become a beggar. But complaints are weak</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And womanish. I will like a palm-tree grow</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Under my (own) huge weight.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: Bids me become a beggar. But complaints</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Are weak and womanish. I will, like a palm-tree,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Grow under my huge weight.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 155.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 19.80em"><span style="font-size: 90%">Nor shall the fear</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of death or torture that dejection bring</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Make me (or) live or die less than a king!</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS. has: To make me live or die less than a king!—<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, +<span class="tei tei-q">“that”</span> in 156 is the demonstrative, not the +relative. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 2.—C.: Keeps us at such (a) distance. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Keeps us off at such distance. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 20.—C.: Sans doubt, he's bent on mischief. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Sans doubt he's bent to mischief. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 24.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He shall find I can</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Think, and aloud too.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Chant, and aloud too. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 53.—C.: 'T had perfected thy life. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: It had. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 66.—C.: (to task). Not in MS. Traces of a word in +the beginning of a line now lost at the foot of 66. +</p> + +<span class="tei tei-pb" id="page185">[pg 185]</span><a name="Pg185" id="Pg185" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 67.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">If arrogantly you presume to take</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The Roman government, your goddess cannot</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Give privilege to it, and you'll find and feel</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">'Tis little less than treason, Flamen.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: If arrogantly you presume to tax</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">The Roman government, you'll find and feel your goddess cannot</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Give privilege to it, and you'll find and feel</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">'Tis little less than treason, Flamen.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“You'll find and feel”</span> cancelled in line 68—<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, +the author changed his mind as he wrote. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 72.—C.: These Asiatic merchants whom you look on. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: These Asiatic merchants whom you look upon. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Merchants”</span> added afterwards above the line, +and the first syllable of <span class="tei tei-q">“upon”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 90.—C.: To it again. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: To it again now. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 139.—C.: Yet you repine and rather choose to pay. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Yet you repined and rather chose to pay. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 151.—C.: And this is my last caution. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Since this is my last caution. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 161.—C.: (On) which. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Mutilated at beginning. <span class="tei tei-q">“On”</span> makes sense. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 186.—C.: His nose, his very lip. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: His nose, his German lip. <span class="tei tei-q">“German”</span> scratched +out, and underneath appears a word beginning +with <span class="tei tei-q">“A,”</span> Asian or Austrian?<a id="noteref_567" name="noteref_567" href="#note_567"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">567</span></span></a> <span class="tei tei-q">“Very”</span> is +written above <span class="tei tei-q">“German.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 187.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His very hand, leg and foot!</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">The moles upon</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His face and hands.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: His own (?) hand, leg and foot, and the left side</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Shorter than on the right.</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 25.20em"><span style="font-size: 90%">The moles upon</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His face and hands.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“His own”</span> down to <span class="tei tei-q">“the right”</span> is cancelled in MS. +</p> + +<span class="tei tei-pb" id="page186">[pg 186]</span><a name="Pg186" id="Pg186" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 191.—C: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">1 M. To confirm us, tell us your chirurgeon's name</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When he served you.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A. You all knew him as I</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Do you, Demetrius Castor.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">2 M. Strange.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">3 M. But</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Most infallibly true.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">1 M. To confirm us,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Tell us his name when he served you.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A. You all know him,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As I do you: Demetrius Castor.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">2 M. Strange.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">3 M. But most infallibly true.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In line 192 <span class="tei tei-q">“his”</span> has been altered to <span class="tei tei-q">“the +chirurgeon's”</span> to the detriment of the metre. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 2, 196.—C.: We'll pay for our distrust. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: We sin in our distrust. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., <span class="tei tei-hi"><span style="font-style: italic">ad initium.</span></span>—Stage-manager's note in left-hand margin, <span class="tei tei-q">“Long.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1, 6.—C: I will exact +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: 'Twill exact. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1, 47.—MS.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">We hold it fit you should have the first honour notice,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That you may have the honour to prevent it.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Honour”</span> in 47 deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1, 51.—MS.: In the shape of King Antiochus. +Under King can be seen <span class="tei tei-q">“Don Sebastian.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 45.—C: With due invitation, and remember. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: With a due invitation and remember. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 49.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And though the Punic faith is branded by</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our enemies, our confederates and friends</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And seventeen kings, our feodaries found it</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As firm as fate.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: And though the Punic faith is branded by</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our enemies, our confederates and friends</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Found it as firm as fate, and seventeen kings</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our feodaries.</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page187">[pg 187]</span><a name="Pg187" id="Pg187" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 52.—MS.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Our strength at sea superior upon the sea</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Exceeding theirs.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“At sea superior”</span> deleted. A clear case of the +author's alteration as he went. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 56.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And then for our cavallery, in the champaign</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">How often have they brake their piles.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: And then for our cavallery, how often, in the champaign</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">How they brake often have they brake their piles.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“How often”</span> in line 56. and the first <span class="tei tei-q">“they +brake”</span> deleted. Author's alterations again. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 59.—C.: If so we find it. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS. If so, as we find it. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 67.—MS.: By yielding up a man. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Written over something of which the first words +are <span class="tei tei-q">“in a,”</span> the last word <span class="tei tei-q">“king.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 98.—MS.: By the conquered Asiatics this impost in their hopes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“This impost”</span> deleted. <span class="tei tei-q">“This impostor”</span> occurs +just above in line 97. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 108.—C.: By her. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: By his. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 138.—C.: He bears him like a king. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: He bears himself like a king. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 142.—MS.: Ceutha deleted before Afric. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 165.—C.: Cannot near you. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Cannot hear you. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 205.—C.: Filled. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Filed. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 209.—MS.: And hath keeps a whore in Corinth. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Hath”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 217.—MS.: In the royal monument of Hib the Asian kings. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(?) The author started to write <span class="tei tei-q">“Hiberian kings.”</span> +</p> + +<span class="tei tei-pb" id="page188">[pg 188]</span><a name="Pg188" id="Pg188" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 240.—MS.: Rebellion delivery or restoring. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Rebellion”</span> deleted; it occurred in the previous +line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 253.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With reverence to</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">This place, thou liest.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: Setting aside, with reverence to</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thy place, the state, thou liest.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Setting aside”</span> and <span class="tei tei-q">“thy place”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 255.—C.: By being ... +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: By being libb'd, and my disability</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To deflower thy sisters.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 256.—C.: I (bow to) your goddess. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Thank your goddess. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Thy”</span> deleted under <span class="tei tei-q">“your.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 285.—MS.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of brave and able men that might have stood</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In opposition for the defence.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“That might”</span> down to <span class="tei tei-q">“opposition”</span> inserted +in same hand above the line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 289.—C.: For my confed'rates. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: For my confederates. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Required by metre. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 328.—MS.: Word deleted before Antiochus. Sebastian +would scan. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 335.—MS.: With your accustomed clemency wisdom you'll perceive. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Clemency”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 346.—MS.: Such depositions as they pleased knew would make. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Pleased”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 368.—MS.: Word deleted under <span class="tei tei-q">“Carthage.”</span> (?) Venice. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 1, 20.—MS.: <span class="tei tei-q">“Europe”</span> deleted under <span class="tei tei-q">“Afric.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 1, 22.—MS.: <span class="tei tei-q">“To the good king Hiero”</span> deleted under +<span class="tei tei-q">“To the pro-consul Marcellus.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 1, 47.—C.: You'll find there that they. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: You shall find there that. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(A nominative is wanted; unless for <span class="tei tei-q">“there”</span> +we read <span class="tei tei-q">“them”</span>) +</p> + +<span class="tei tei-pb" id="page189">[pg 189]</span><a name="Pg189" id="Pg189" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 1, 62.—C.: To my (aid). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: To my wish. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 1, 91.—MS.: There's thy reward. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Underneath <span class="tei tei-q">“there's,”</span> <span class="tei tei-q">“take”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 1, 103.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Your travail's ended, mine begins; I take my leave.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Formality of manner now is useless.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: Your travail's ended, mine begins, and therefore</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Sans ceremonie I will take my leave.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Sans ceremonie”</span> deleted, and <span class="tei tei-q">“formality +... useless”</span> added at the end of the line. The +author omitted to cancel <span class="tei tei-q">“I take my leave.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 2, 31.—C.: Thou thin gut! +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: You thin gut! +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 2, 35.—MS.: Cancels from <span class="tei tei-q">“Jove! if thou art”</span> to 38, +<span class="tei tei-q">“They come.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 2, 36.—C.: Change not Jove's purpose. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Change not you Jove's purpose. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 2, 106.—MS.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I will conjure him</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If revenge hath any spells.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Cancelled in MS. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 132.—C.: Will but—I spare comparisons. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(?) Punctuate: Will—but I spare comparisons. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 150.—MS.: Of such such as are. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Second <span class="tei tei-q">“such”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 151.—MS.: Bithynia covered with our knights armies. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Knights”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 166.—MS.: And more than my his caution to you; but now peace or war. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“And more than my”</span> deleted. The previous +line had begun with these words. Was the author +copying a former draft of the scene? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 229.—C.: To cross your purpose. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: To cross your purposes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 234.—MS.: The warrant and authority of a wife your queen. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“A wife”</span> deleted. +</p> + +<span class="tei tei-pb" id="page190">[pg 190]</span><a name="Pg190" id="Pg190" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 244.—C.: These (eyes) pull'd out. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: These pulled out. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Eyes”</span> is required by the sense, and <span class="tei tei-q">“these”</span> +and <span class="tei tei-q">“eyes”</span> are much alike in this hand. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>—C.: Do then. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Do you then. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 248.—C.: Born deaf. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Born dumb. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Act IV.—Stage-manager's note in left-hand margin of 186, +<span class="tei tei-q">“Long.”</span> <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Act II. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1.—C.: A street in Callipolis. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Not in MS. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Sempronius a Capturion—<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, <span class="tei tei-q">“captain”</span> altered to +<span class="tei tei-q">“centurion.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 2.—MS.: I heard such. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Such”</span> deleted. It begins the next line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 5.—MS.: He promised me a visit, if his designs as I desire they may. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“He”</span> deleted and <span class="tei tei-q">“who by his letters”</span> +written above it. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For similar expansion of one line into two, +<span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> II., 2, 285. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 7.—MS.: Till he arrive you behold him. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“He arrive”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 23.—MS.: <span class="tei tei-q">“My”</span> deleted before <span class="tei tei-q">“yourself.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 29.—C.: Lips. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Lip. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 34.—C.: Tacks on <span class="tei tei-q">“he”</span> to this line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: <span class="tei tei-q">“He”</span> begins line 35. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 45.—Enter Flaminius. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(?) <span class="tei tei-q">“Ferdinand”</span> deleted below. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 1, 90.—C.: And may prove fortunate. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: And it may prove fortunate. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 5.—C.: (Why), the sufferings of this miserable man. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: No trace of <span class="tei tei-q">“why.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 11.—C.: Tacks on <span class="tei tei-q">“to”</span> at the end. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: It begins line 12. +</p> + +<span class="tei tei-pb" id="page191">[pg 191]</span><a name="Pg191" id="Pg191" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 29.—C.: And know that not the reverence that waits. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: And though I know the reverence that waits. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 33.—C.: Or iron. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Or fire. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 58.—C.: They aim at. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: They aimed at. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 60.—C.: A few more hours. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: A few hours more. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 66.—MS.: For the pretty tempting friend I brought; my life on't. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Under <span class="tei tei-q">“tempting,”</span> <span class="tei tei-q">“beauty”</span> (?) deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 87.—MS.: Crack not with the weight of deer, and far-fetched dainties. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Not”</span> spoils the metre and the sense; it occurs +in line 88. <span class="tei tei-q">“Dispute not with heaven's bounties.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 90.—C.: Homely cakes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Homely cates. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 2, 96.—MS.: I have already</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Acquainted her with her cue. The music ushers</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her personal appearance.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Scratched out at top of 20<span class="tei tei-hi"><span style="font-style: italic">b</span></span>, and inserted at foot +of 20<span class="tei tei-hi"><span style="font-style: italic">a</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 127.—C.: Pray, what are you? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Pray you, what are you? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 147.—C.: That, (sir), is. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: <span class="tei tei-q">“Sir”</span> not visible owing to mutilation. (?) Sir, +that is. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 158.—MS.: And met your wishes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“And met”</span> deleted before <span class="tei tei-q">“and met.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 226.—MS.: To pluck your eyes out. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Last half of line deleted. Last word (?) +<span class="tei tei-q">“thoughtes.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 228.—MS.: Add a deleted line: +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Dieted with gourd water.<a id="noteref_568" name="noteref_568" href="#note_568"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">568</span></span></a> Oh! the furies! +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +C.: leaves out. +</p> + +<span class="tei tei-pb" id="page192">[pg 192]</span><a name="Pg192" id="Pg192" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 1.—MS.: Officers leading in Berecinthius. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Sampayo”</span> deleted under <span class="tei tei-q">“Berecinthius.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +C.: Place of execution at Callipolis. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Does not mention Callipolis. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 28.—MS.: My bark you see wants stowage. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Balance”</span> deleted before <span class="tei tei-q">“stowage.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 29.—C.: But give me half a dozen hens. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: But give me half a dozen of hens. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 39.—MS.: <span class="tei tei-q">“Helped me”</span> <span class="tei tei-hi"><span style="font-style: italic">bis.</span></span> The first one deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 44.—MS.: To make three sops for his three heads; may +serve for a breakfast. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“that”</span> inserted after <span class="tei tei-q">“heads,”</span> and <span class="tei tei-q">“something +more than an ordinary”</span> after <span class="tei tei-q">“serve for.”</span> +One line converted into two, as above, IV., 1, 5. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 46.—MS.: The cur is vengeance devilish hungry. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Vengeance”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 48.—C.: Provided for my frame. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Provided for my fame. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3, 53.—MS.: That no covetous Roman, after I am dead. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Needie”</span> deleted under <span class="tei tei-q">“covetous.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 4, 13.—C: His faults are inscribed. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: His fault's inscribed. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 4, 22.—C.: But in one thing most remarkable. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: But one thing most remarkable. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 4, 45.—MS.: Of kings deposed, and some in triumph led. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Read”</span> deleted before <span class="tei tei-q">“led.”</span> It is the last +word of line 44. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 4, 48.—C: Is of worse condition, and Rome. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Is of a worse condition, and Rome. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 28.—MS.: <span class="tei tei-q">“rows”</span> deleted before <span class="tei tei-q">“is chained.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 98.—C: In the world. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Of the world. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 102.—C: Since I am term'd a soldier. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Since I am turn'd soldier. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 116.—C: Grant you like (opportunity, but why), +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Grant you like; +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +C.'s addition required by the sense. +</p> + +<span class="tei tei-pb" id="page193">[pg 193]</span><a name="Pg193" id="Pg193" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 137.—C.: In which, my lord being a suitor with (me). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: In which, my lord being a suitor with. Addition +required. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 143.—C.: And though it needs not, for further proof. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: And though it needs it not, for further proof. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 157.—C.: They find. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: May find. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“May”</span> required by the sense. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 172.—MS.: Swim down the torrent stream but to +oppose the torrent. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Torrent”</span> before <span class="tei tei-q">“stream”</span> deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 14.—C.: I will make this good. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: I will mock this good. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 30.—C.: That noble Roman. By h(im you are sent for). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: That noble Roman. By h.... Addition required. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 33.—C.: Though I grand him. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Though I grac'd him. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 46.—C.: <span class="tei tei-hi"><span style="font-variant: small-caps">Antonius.</span></span> Forbear. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: <span class="tei tei-hi"><span style="font-variant: small-caps">Marcellus.</span></span> Forbear. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V.,2, 59.—MS.: <span class="tei tei-q">“Marcell”</span> deleted before <span class="tei tei-q">“King Antiochus.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 124.—C.: (The armlet). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Koeppel points out that in Cayet it is a ring.<a id="noteref_569" name="noteref_569" href="#note_569"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">569</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 125.—C.: Which you wear on your sl(eeve). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Which you wear on your——slight traces of <span class="tei tei-q">“sl.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 125.—C.: I ack(nowledge). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: I ack ... +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 155.—C.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My power to justify the ill, and pressed</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">You with mountainous promises of love and service.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">MS.: My power to justify the ill, and pressed you</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">With mountainous promises of love and service.</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 166-7.—MS.: As far as <span class="tei tei-q">“faithfully”</span> in one line, but all +written at the same time. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 173.—C.: The violence of your passion. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: .... l .. ce of your passion. +</p> + +<span class="tei tei-pb" id="page194">[pg 194]</span><a name="Pg194" id="Pg194" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 174.—C.: Cornelia. (Do) but (expre)ss. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Cornelia has a line which has disappeared; towards +the end are traces of <span class="tei tei-q">“but”</span> and <span class="tei tei-q">“ss.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 175.—C.: Your thankfulness for his so m(any favours). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Your thankfulness for his so m ... +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 176.—C.: And labour that the senate may restore h(im). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: And labour that the senate may restore h ... Addition +required. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 212.—C.: Yield an account without appeal for wha(t). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Yield an account without appeal for wha ... +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 213.—C.: You have already done. You may p(eru)se. +(Does it.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: You have already done. You may p ... se. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +No need for <span class="tei tei-q">“Does it.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 214.—C.: Do you f(i)nd I ha(ve). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: Do you f ... nd e I ha ... Addition required. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 215.—C.: (The warran)t. (C)all in the Asian merchants. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: ... all in the Asian marchants. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(?) <span class="tei tei-q">“The document”</span> would scan better. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 216.—C.: <span class="tei tei-hi"><span style="font-variant: small-caps">2 Merchant.</span></span> Now to be hanged. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS. has space above 216 for half a line to be said by someone +else. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 217.—C.: <span class="tei tei-hi"><span style="font-variant: small-caps">3 Merchant.</span></span> Him that pities thee. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS. gives no clue to the speaker. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>—C.: Flaminius. Accusers. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: ... sers. It is the last word of line 217? +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 218.—C.: ... die, and will prove that you took bribes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I suggest as restoration of lines 215-218: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">Call in the Asian merchants;</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Let's hear them speak.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">1 Merchant</span></span><span style="font-size: 90%">:</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">'Tis thy turn now to be hanged.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And shame to him that pities thee.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-variant: small-caps">Marc</span></span><span style="font-size: 90%">:</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 25.20em"><span style="font-size: 90%">Th' accusers</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Are ready, and will prove, etc.</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page195">[pg 195]</span><a name="Pg195" id="Pg195" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 232.—C.: ('Tis) a Roman. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: A Roman. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(C.'s addition required by the sense.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Prologue</span></span>—1.—C.: (So far our) author. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +MS.: ... author. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc23" id="toc23"></a> +<a name="pdf24" id="pdf24"></a> +<a name="Appendix_IX" id="Appendix_IX" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix IX. </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">The Parliament Of Love</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The MS. (No. 39 in the Dyce Collection, Victoria and Albert +Museum) comprises nineteen leaves of the same size as those +of <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>. It has suffered much from damp, and +is in a brittle, dilapidated state. In several passages the MS. +has suffered since Gifford's collation (<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, II., 2, 15). The +lacunae in the text—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, at I., 4, 55; I., 5, 7; and I., 5, 74—are +all caused by the mutilation of the lower edge of the MS. +The hand seems to be the same throughout, but bears no resemblance +to that in which <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span> is written, nor +is it so easy to decipher. There are very few corrections in the +text, and no marginal notes of any kind except the customary +entrances and departures of the characters, which are duplicated +as in <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, but in the same hand. The +licence on folio 19<span class="tei tei-hi"><span style="font-style: italic">a</span></span> has been cut off. On folio 19<span class="tei tei-hi"><span style="font-style: italic">b</span></span> is written +in a largish hand, <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span>, without any author's +name. Gifford believed that this MS. was in Massinger's +hand, and says <span class="tei tei-q">“this has since been confirmed.”</span> He does not +say how. One thing is certain; the same hand did not write +<span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>. One instance +out of many can be give in proof of this: the letter C, small +and capital, in <span class="tei tei-hi"><span style="font-style: italic">The Parliament of Love</span></span> is constantly written +thus, ⊕. A marked feature of the MS. is the doubling of +consonants—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, tollerable, vallor, quallities, cullors. It +looks as if, while it was in Gifford's hands, ink had been used +to restore letters here and there, and towards the end of the +play there are several substitutions of words in a later ink. +Gifford's collation where I have tested it is correct in the main +but I noted one or two mistakes—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>: +</p> + +<span class="tei tei-pb" id="page196">[pg 196]</span><a name="Pg196" id="Pg196" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 5, 87.—MS.: Sudainely. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +G.: Speedily. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 3, 58.—MS.: The graces from the Idalian greene [<span class="tei tei-hi"><span style="font-style: italic">sic</span></span>]. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +G.: The Loves and Graces. This would make the line scan. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 2, 15.—MS.: If I compared it to an Indian slave's. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +G.: with. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 158.—MS.: Have. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +G.: Had. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 292.—<span class="tei tei-q">“To”</span> in MS. begins line 293. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The sort of mistake which we find in this MS. lends support +to two hypotheses, between which, as far as I can see, there is +nothing to decide; either, as we saw there was ground for +supposing in <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, the author altered his diction +as he composed, or he was dictating to an amanuensis. The +earlier corrections are all made in the same ink. In favour +of the former hypothesis are such passages as the following: +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 4, 84: <span class="tei tei-q">“May you suc prosper.”</span> <span class="tei tei-q">“Succeed”</span> was the original +word, but cancelled for one which scans better. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 5, 23: <span class="tei tei-q">“Clarindore”</span> cancelled at end of line, <span class="tei tei-q">“Cleremond”</span> +substituted. Clarindore is mentioned in the next line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 5, 66: <span class="tei tei-q">“Summer's sunne”</span>: <span class="tei tei-q">“heate”</span> substituted for +<span class="tei tei-q">“sunne.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1. 81: <span class="tei tei-q">“That”</span> deleted after <span class="tei tei-q">“assurance”</span>; the line thereby +runs more smoothly. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 3, 5: <span class="tei tei-q">“Thy selfe”</span>: <span class="tei tei-q">“selfe”</span> deleted before <span class="tei tei-q">“strengthe.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 2, 16: <span class="tei tei-q">“That with incessant labour to searche out.”</span> +After <span class="tei tei-q">“labour”</span> <span class="tei tei-q">“searche”</span> is deleted. In other words, +the construction is changed: the main verb being <span class="tei tei-q">“dives”</span> +in the next line, instead of the original intention, +<span class="tei tei-q">“searches.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 124: <span class="tei tei-q">“Perform'd”</span> deleted before <span class="tei tei-q">“expir'd.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 111: <span class="tei tei-q">“In hell's most uglie cullors.”</span> <span class="tei tei-q">“Horrid coullors”</span> +is deleted before the last two words. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 189: <span class="tei tei-q">“Nor did I scorn”</span>: <span class="tei tei-q">“him”</span> after <span class="tei tei-q">“scorn”</span> is +deleted, as if the syntax had been changed. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 206: <span class="tei tei-q">“Acknowledged”</span> deleted before <span class="tei tei-q">“appointed.”</span> +</p> + +<span class="tei tei-pb" id="page197">[pg 197]</span><a name="Pg197" id="Pg197" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The sort of mistake that an amanuensis might make, either +in copying or by dictation, occurs in: +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 12: <span class="tei tei-q">“The scorne darts of scorne”</span>; first <span class="tei tei-q">“scorne”</span> +deleted. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 111: After <span class="tei tei-q">“Absolve me”</span> <span class="tei tei-q">“only can”</span> deleted; it +makes no sense, but had occurred in the previous line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 3, 16: <span class="tei tei-q">“But never thought: come, I must have thee mine.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +First three words deleted: they had occurred in the +previous line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 1, 120: <span class="tei tei-q">“Blanque”</span> deleted before <span class="tei tei-q">“blanket.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 37: <span class="tei tei-q">“A seeming courts”</span>: <span class="tei tei-q">“courts”</span> deleted before +<span class="tei tei-q">“anger.”</span> <span class="tei tei-q">“Courtship”</span> occurs at the end of the line. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 46: <span class="tei tei-q">“Weake weake men”</span>; first <span class="tei tei-q">“weake”</span> underlined +in later ink.<a id="noteref_570" name="noteref_570" href="#note_570"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">570</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 190: <span class="tei tei-q">“For truth is truth is truth.”</span> All deleted. The +sense requires: <span class="tei tei-q">“for truth is truth.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 505: <span class="tei tei-q">“Neglegt”</span> deleted before <span class="tei tei-q">“neglect.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I add one or two notes of interest in correction of Cunningham's +edition. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 156 should read thus, as in MS.: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">then to practise</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">To find some means that he deserves thee best.</span><span style="font-size: 90%">”</span></span><a id="noteref_571" name="noteref_571" href="#note_571"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">571</span></span></a></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +C. reads in I., 157: <span class="tei tei-q">“he that,”</span> which makes no sense. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +At III., 3, 8 (folio 8<span class="tei tei-hi"><span style="font-style: italic">b</span></span>) there is a considerable blank in the +MS. scrabbled over, but line 8 is completed at the top of +folio 9<span class="tei tei-hi"><span style="font-style: italic">a</span></span>. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 116 should read thus, as in MS.: <span class="tei tei-q">“And not to be replied +to.”</span> C. misprints: <span class="tei tei-q">“replied be.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 129: The MS. reads thus: +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 27.00em"><span style="font-size: 90%">For that deitie</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">(Such our affection makes him) whose dread power</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Tooke forthe choicest arrows, headed with</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Not loose but loyall flames, who aymed at mee</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ame with greedie haste to meete the shaft.</span></div> +</div> +</div> + +<span class="tei tei-pb" id="page198">[pg 198]</span><a name="Pg198" id="Pg198" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +C. reads line 131: ... the choicest arrow, headed with. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +line 133: Who came with greedy haste to meet the shaft. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In 131 <span class="tei tei-q">“the”</span> is obviously left out by homoeoteleuton. +The grammar of the passage is defective. It is all cancelled +in the old ink. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Similarly, 138 is cancelled: <span class="tei tei-q">“Of gold, nor of pale lead that +breeds disdain.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +178-185 down to the word <span class="tei tei-q">“matter”</span> are cancelled. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +294-296 are cancelled in the old ink. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 371: MS. <span class="tei tei-q">“to whore me.”</span> A modern hand has written +above <span class="tei tei-q">“abuse.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 531: There is an addition in the original hand which will +not scan. +</p> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left">“And gratious spectators.”</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Gifford in his note (II., 312) on <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, V., 1, 129, +refers to a corrected copy of <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>, which proves +the writing of the <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span> to be Massinger's. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Advertisement to his second edition, Vol. I., and the +facsimile of the dedication of <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span> to Sir Francis +Foljambe (IV., 593). Where is this copy now? It was at +one time in Gifford's possession. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc25" id="toc25"></a> +<a name="pdf26" id="pdf26"></a> +<a name="Appendix_X" id="Appendix_X" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix X. The Authorship Of </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">The Virgin Martyr</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Boyle assigns to Massinger, Act I., Act III., 1, 2, Act IV., 3, +Act V., 2, a total of slightly less than half the play. As far +as it goes, I agree with this assignation, but it does not seem +to me quite satisfactory. It is true that there are serious passages +in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span> which do not resemble the rest +of Massinger's work; it does not therefore follow that they are +due, like the comic parts, to Dekker. In the first place, the +exaltation which breathes from these passages may be due to +the rapture of youth. Why should Massinger not have shown +in what must have been a youthful work an emotional brilliancy +<span class="tei tei-pb" id="page199">[pg 199]</span><a name="Pg199" id="Pg199" class="tei tei-anchor"></a> +which he lost later? And secondly, it is a mistake +to say that Massinger's style is absolutely uniform; we could +only lay this proposition down positively if we had all his +works in our hands, and among those we possess I am much +mistaken if differences, slight though real, cannot be detected. +<span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span> stand apart from the +rest of his plays by virtue of their greater degree of romantic +nobility. In the third place, the serious scenes assigned by +Boyle and others to Dekker do not seem to me to resemble +the serious style of that author, except that there are certain +passages where rhymed couplets are employed. Here again +we might argue that Massinger was making an experiment +which he dropped in his later work. The fact is that, as is +usually the case in these matters, we have not enough evidence +to prove one thing or the other. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The ascription of the play to Massinger and Dekker on the +title-page of the 1622 edition might be held to prove that the +lion's share in it is due to the former, especially when we remember +that he was the younger and presumably the less-known +author of the two. I should not, however, wish to +deny the possibility that Dekker contributed some of the +serious parts. I feel rather disposed to suggest that in one or +two of the scenes in question both authors were at work. +There is nothing impossible or improbable in this hypothesis. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Charles Lamb says about the scene between Dorothea and +Angelo, beginning Act II., 1, line 224, that <span class="tei tei-q">“it has beauties of +so very high an order, that with all my respect for Massinger, +I do not think he had poetical enthusiasm capable of furnishing +them. His associate Dekker, who wrote <span class="tei tei-hi"><span style="font-style: italic">Old Fortunatus</span></span>, +had poetry enough for anything.”</span> This is one of Lamb's +many unfair remarks about our author; he had discovered so +many treasures in the Elizabethan goldfield that he was disposed +to underrate the favourite of the eighteenth century. +One rises from a perusal of the works of Dekker with +a feeling that he was in many respects an engaging, child-like +mind, with a gift for drawing character, but with an imperfect +sense of technique and structure. If he had written +anything in his undoubted works as good as this scene, it +would be natural to adjudge it to him. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I should be inclined to assign II., 2, to Massinger; great +<span class="tei tei-pb" id="page200">[pg 200]</span><a name="Pg200" id="Pg200" class="tei tei-anchor"></a> +stress is laid in it on the lack of courtesy shown in scanty +greetings, which is a familiar line of thought in our author. +Theophilus' speech, <span class="tei tei-q">“Have I invented tortures,”</span> sounds to me +like Massinger. The structure of II., 3, reminds one of +several similar incidents in Massinger, though it is clear that +no poet can claim the monopoly of introducing auditors of +love-scenes in the gallery above the stage. On the other hand, +the ravings of Theophilus (<span class="tei tei-hi"><span style="font-style: italic">ibid.</span></span>, 116-123) read like Dekker; +as does the rhymed passage (<span class="tei tei-hi"><span style="font-style: italic">ibid.</span></span>, 131-136). Perhaps the +scene is composite. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The same remark applies to IV., 1. The first sixty lines +are certainly Massinger's, and much of the rest; notice especially +Antoninus' sudden change of mind at line 102. On the +other hand, the speech of the British slave (<span class="tei tei-hi"><span style="font-style: italic">ibid.</span></span>, 136-147) +might be Dekker's work. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +If Massinger can be accredited with Dorothea's farewell +speech in IV., 3, 69-92, I do not see why he should not have +written the famous passage in II., 1. They seem to me to +have the same thrill of emotion. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Lastly, V., 1, seems to be constructed on the lines of a Massinger +scene, and to contain traces of his vocabulary; <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> the +use of <span class="tei tei-q">“horror”</span> in line 41, and of <span class="tei tei-q">“to thy centre”</span> in line +146. The conversion of Theophilus, like that of Antoninus +in a previous scene, is effected rapidly, in Massinger's manner. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +To sum up, I should be inclined to say that Massinger had, +at any rate, a considerable share in the following scenes: +II., 1, II., 2, II., 3, IV., 1, V., 1. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc27" id="toc27"></a> +<a name="pdf28" id="pdf28"></a> +<a name="Appendix_XI" id="Appendix_XI" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XI. The Authorship Of </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">The Fatal Dowry</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Boyle assigns to Massinger, Act I.; Act III. as far as +line 315 (enter Novall, junr.); Act IV., 2, 3, 4; Act V. This +amounts to about three-fifths of the play. On metrical +grounds I reluctantly concede that Field wrote the famous +funeral scene, Act II., 1. But there are clear traces of Massinger's +style in the part of Act II., 2, which follows the prose +<span class="tei tei-pb" id="page201">[pg 201]</span><a name="Pg201" id="Pg201" class="tei tei-anchor"></a> +passage. Thus, Romont's speech, beginning at line 201, +seems to show traces of Massinger; likewise Pontalier's, +beginning at line 370. It is probable that Field wrote the +prose scenes in the play, and possibly the songs; nor would I +deny that the regular ten-syllable blank verse of such passages +as Act II., 2, 178-187 (<span class="tei tei-hi"><span style="font-variant: small-caps">Rochfort.</span></span> Why, how now, +Beaumelle? ... nothing but good and fit), and Act II., +2, 318-328 (This is my only child ... were multiplied tenfold), +is Field's work. In the two plays which have come down +to us from Field there is much passable blank verse. It is +important to remember, however, that we have so little of +Field left that it is hazardous to base material tests on it; +and secondly, the authors may have collaborated in individual +scenes in such a way as to escape analysis. This is what +probably has taken place in Act II., 2. Nor do I feel certain +that the latter part of Act III. is wholly due to Field; lines +438-478 contain much that is like Massinger, though the ugly +line 464 is not in his style. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">I not accuse thy wife of act, but would</span></span></div> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">Prevent her precipice to thy dishonour.</span><span style="font-size: 90%">”</span></span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +On the other hand, the rhymed couplet (lines 375-6) is probably +Field's. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The pert page in Act IV., 1, reminds us of a similar character +in <span class="tei tei-hi"><span style="font-style: italic">Woman's a Weathercock</span></span>, and is probably Field's handiwork. +On the other hand, Pontalier's speech in the same scene (lines +119-140) reads to me like Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +These instances may serve to show how hard it is to dissect +the play satisfactorily. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc29" id="toc29"></a> +<a name="pdf30" id="pdf30"></a> +<a name="Appendix_XII" id="Appendix_XII" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XII. The Tragedy Of </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">Sir John Van Olden +Barnavelt</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This play is to be found in Bullen's <span class="tei tei-hi"><span style="font-style: italic">Old Plays</span></span>, vol. ii. It +was printed from B.M. Add. MSS. 18653, a folio of thirty-one +leaves in a small clear hand. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Mr. Bullen thinks that Massinger wrote III., 2; III., 6; +IV. (the trial scene); V., 1. He ascribes the concluding scene +<span class="tei tei-pb" id="page202">[pg 202]</span><a name="Pg202" id="Pg202" class="tei tei-anchor"></a> +to Fletcher. These ascriptions seem to me correct. There is +much fine poetry in the play, notably in the Leidenberg scene. +But Fleay goes too far when he calls the play <span class="tei tei-q">“magnificent.”</span> +It is a <span class="tei tei-q">“piece of occasion,”</span><a id="noteref_572" name="noteref_572" href="#note_572"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">572</span></span></a> written shortly after the tragic +death of Barnavelt, in such a way, however, that it would +not interest a later generation, who had forgotten the sensation +of the time. In the second place, it has no unity, a fact +no doubt partly due to the dual authorship. We do not know +if we are intended to sympathise with Orange or Barnavelt. +Such a specimen of the historical drama pure and simple +makes us feel that more than a mere narrative of events is +needed in a play; we look to the author to guide our sympathies, +and have a view of his own about his theme.<a id="noteref_573" name="noteref_573" href="#note_573"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">573</span></span></a> +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc31" id="toc31"></a> +<a name="pdf32" id="pdf32"></a> +<a name="Appendix_XIII" id="Appendix_XIII" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XIII. </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">The Second Maiden's Tragedy</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This play was reprinted by the Malone Society in 1909.<a id="noteref_574" name="noteref_574" href="#note_574"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">574</span></span></a> +The writing of the original MS. in the British Museum is +remarkably good. It is No. 807 in the Lansdowne Collection, +and comes to us from the famous Warburton MSS. The play +was licensed by Sir George Buck, October 31st, 1611, and acted +by the King's men. At the end is inscribed: <span class="tei tei-q">“by Thomas +Goffe,<a id="noteref_575" name="noteref_575" href="#note_575"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">575</span></span></a> George Chapman, by Will Shakspear. A tragedy +indeed!”</span> +</p> + +<span class="tei tei-pb" id="page203">[pg 203]</span><a name="Pg203" id="Pg203" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The last phrase is true. The first two names are erased; +the third name has been added by a late seventeenth or +eighteenth century hand. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The underplot, according to Boyle, is derived from Cervantes' +<span class="tei tei-hi"><span style="font-style: italic">Curious Impertinent</span></span>, and in Acts I. and II. passages <span class="tei tei-q">“are +literally taken from that novel.”</span> There is an incident at the +end of the play which reminds us of <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>. +The <span class="tei tei-q">“Tyrant”</span> removes the body of the heroine from her +tomb, and sends for a painter to give colour to her face and +lips. Govianus, her husband, comes in disguise to do the deed, +and the Tyrant is killed by the poison which Govianus has put +on the lips of the corpse. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger may therefore have known the play, but I +differ entirely from Boyle's estimate. He thinks Massinger +wrote Acts I. and II., Tourneur Acts III., IV., V. I see no +trace of Massinger in Act I., except the reference in line 541 +to a <span class="tei tei-q">“cup of nectar.”</span> The sudden repentance of the heroine's +father Helvetius, in Act II., 1, 253, reminds us of a trait of +Massinger referred to above;<a id="noteref_576" name="noteref_576" href="#note_576"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">576</span></span></a> but the style of the first two +acts is too feeble and vague, and the metre too halting for +him.<a id="noteref_577" name="noteref_577" href="#note_577"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">577</span></span></a> I cannot suppose that at the age of twenty-seven +Massinger could have taken part in writing a play where <span class="tei tei-q">“A +voice from within”</span> the tomb says to the mourning husband, +<span class="tei tei-q">“I am not here!”</span><a id="noteref_578" name="noteref_578" href="#note_578"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">578</span></span></a> +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc33" id="toc33"></a> +<a name="pdf34" id="pdf34"></a> +<a name="Appendix_XIV" id="Appendix_XIV" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XIV. </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">The Powerful Favorite</span><span style="font-size: 173%">”</span></span><a id="noteref_579" name="noteref_579" href="#note_579"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">579</span></span></a></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“<span class="tei tei-hi"><span style="font-style: italic">The Powerful Favorite</span></span>, or the life of Aelius Sejanus, by +P. M., printed at Paris, 1628.”</span> So runs the title in the +English translation. +</p> + +<span class="tei tei-pb" id="page204">[pg 204]</span><a name="Pg204" id="Pg204" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Two translations of Pierre Matthieu's book, <span class="tei tei-q">“Histoire +d'Aelius Sejanus,”</span> appeared in the same year. One is padded +out with additions; in the shorter and more exact translation, +the initials on the title-page of the Bodleian copy have been +filled out thus: P. Massinger. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We know that Massinger's political sympathies were against +the Duke of Buckingham, and it is probable that a Life of +Sejanus may have attracted attention at a time when the parallel +was drawn and the unpopularity great; but it is simpler +to suppose that P. M. stands for the French author. It +would require some courage to publish under one's own name +or initials a translation of the book. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is noteworthy that in 1632, after Buckingham's death, +a translation appeared by Sir T. Hawkins. The title which +he gave his book was <span class="tei tei-q">“Unhappy prosperitie expressed in the +histories of Aelius Sejanus and Philippa, the Catanian.”</span> +Underneath he adds the words: <span class="tei tei-q">“Written in French by +P. Matthieu.”</span> +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc35" id="toc35"></a> +<a name="pdf36" id="pdf36"></a> +<a name="Appendix_XV" id="Appendix_XV" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XV. </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">Double Falsehood</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In 1728 there appeared at London a play with the following +title: <span class="tei tei-q">“Double Falsehood, or The Distressed Lovers; +written originally by W. Shakespeare, and now revised and +adapted to the stage by Mr. Theobald, the author of <span class="tei tei-hi"><span style="font-style: italic">Shakespeare +Restor'd</span></span>.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It was dedicated to the Rt. Hon. George Dodington, Esq. +In the Preface Theobald states that one of the copies in MS. +is of above sixty years' standing. He goes on to say that +there is a tradition that Shakspere wrote it—<span class="tei tei-q">“in the time of +his retirement from the stage.”</span> The story is taken from a +novel in <span class="tei tei-hi"><span style="font-style: italic">Don Quixote</span></span>, which appeared in 1611, five years before +Shakspere's death. Theobald professes to allow that the +colouring, diction, and characters come nearer to the style +and manner of Fletcher. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Some writers<a id="noteref_580" name="noteref_580" href="#note_580"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">580</span></span></a> have supposed that Theobald in compiling +<span class="tei tei-pb" id="page205">[pg 205]</span><a name="Pg205" id="Pg205" class="tei tei-anchor"></a> +this play used materials from a lost play by Massinger. The +first thing we notice in it is that there are a good many prose +scenes. This is unlike Massinger. In the second place, +the metre is unlike Massinger's; it is simple and regular, +and contains very few double endings or run-on lines. In +Act II., 4, Leonora gives an important letter to her lover +Julio, out of a window, to a <span class="tei tei-q">“citizen”</span> whom she does not know, +by night. Is this improbable incident the sort of thing that +Massinger would write?<a id="noteref_581" name="noteref_581" href="#note_581"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">581</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The whole play is an eighteenth-century effusion in the +manner of Rowe. There is no trace of Fletcher or Massinger +here. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc37" id="toc37"></a> +<a name="pdf38" id="pdf38"></a> +<a name="Appendix_XVI" id="Appendix_XVI" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XVI. Middleton's </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 173%">“</span><span style="font-size: 173%">A Trick To Catch The Old One</span><span style="font-size: 173%">”</span></span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Trick to catch the Old One</span></span> is a lively play, mainly written +in prose, in which an air of plausibility is skilfully cast around +a farcical plot. There can be no doubt that Massinger borrowed +the idea of <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span> from Middleton, as well as a few expressions.<a id="noteref_582" name="noteref_582" href="#note_582"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">582</span></span></a> +In both plays there are an uncle who has strained +the law to deprive his nephew of his lands, a rich widow whose +supposed affection for the nephew converts the uncle to make +reparation, and creditors who have to be satisfied. The servants +<span class="tei tei-pb" id="page206">[pg 206]</span><a name="Pg206" id="Pg206" class="tei tei-anchor"></a> +(<span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, IV., 4) who are to discharge their duties in +Hoard's new household may have suggested the group in +Lady Allworth's house who supply a comic element. On the +other hand, the two plays are constructed on very different +lines. The central point of <span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span> is the hatred of the two +usurers, Lucre and Hoard, for one another, both being in the +end cheated by the hero Witgood. In <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span> there is +only one usurer, Sir Giles. <span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, though well constructed, +has a lame and hurried conclusion; and it is overloaded with +minor characters, who help the action but little—in particular, +the usurer Dampit seems to be introduced for no particular +reason except to fill up the time with mediocre fun. The part +played by the heroine, Joyce, is small and obscure. Then +again, there can be no comparison between the slight figure of +Hoard and the powerful creation of Sir Giles Overreach. +Wellborn does nothing in the play that misbecomes a gentleman; +the ingenuity with which he frames a plan to deceive +his uncle leads us to believe that when he has repented his +<span class="tei tei-pb" id="page207">[pg 207]</span><a name="Pg207" id="Pg207" class="tei tei-anchor"></a> +wild life he has the capacity to make good. His prototype, +Witgood, on the other hand, is merely an amusing adventurer. +Indeed, Middleton seems throughout to be pursuing with his +vengeance the sharp practices of those who lend money to fast +young men, and we certainly sympathize with his castigation +of Lucre, Hoard, and Dampit. Massinger's widow is a lady +of birth and title; Middleton's is a courtesan in disguise. +When she marries Hoard, though we feel some satisfaction +at the deception which has been practised on him, we cannot +help asking ourselves as the characters retire to the conventional +<span class="tei tei-q">“wedding dinner”</span> of an Elizabethan comedy, whether +the solution would have worked in real life. The answer is, +that while we have been much amused, we have been cheated +by the author's great skill and vivacity into accepting an +improbable plot. Massinger's play, on the other hand, contains +little that might not have happened, and the conclusion +is so arranged that there is every prospect of the characters +living happily hereafter. While Middleton's play is a charming +<span class="tei tei-pb" id="page208">[pg 208]</span><a name="Pg208" id="Pg208" class="tei tei-anchor"></a> +extravaganza, Massinger's has held the stage ever since. +The one play can be acted now, the other cannot. This is +not merely due to the fact that <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span> has more dignity +and refinement than its predecessor, but it is because Massinger's +characters behave like real beings.<a id="noteref_583" name="noteref_583" href="#note_583"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">583</span></span></a> +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc39" id="toc39"></a> +<a name="pdf40" id="pdf40"></a> +<a name="Appendix_XVII" id="Appendix_XVII" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XVII</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +These two poems are copied from a folio MS. in the library +of Trinity College, Dublin (G, 2, 21), containing compositions +of Donne and other poets of the seventeenth century. They +are to be found on pages 554-559. The handwriting is that of +the seventeenth century. I have reproduced the original +punctuation and spelling. Mr. Grosart published the poems +in <span class="tei tei-hi"><span style="font-style: italic">Englische Studien</span></span>, No. xxvi. He says that the librarian of +Trinity, Dr. T. K. Abbot, had grounds for supposing that the +MS. had been in the possession of Trinity College for a century; +he does not, however, state what the grounds are. As far as +the dates go which are indicated in the volume, it might have +passed into the library with other books from Archbishop +Ussher's collection. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +From the tone of line 16 of the first poem we may assume +that it was addressed by Massinger when quite young to +William, the third Earl of Pembroke. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +I +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +The Copie of a Letter written upon +occasion to the Earle of Pembrooke +Lo: Chamberlaine +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My Lord</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">p. 554</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Soe subiect to the worser fame</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Are even the best that clayme a Poets name:</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Especially poore they that serve the stage</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Though worthily in this Verse-halting Age.</span></div> +<span class="tei tei-pb" id="page209">[pg 209]</span><a name="Pg209" id="Pg209" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And that dread curse soe heavie yet doth lie</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">W</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">ch</span></span><span style="font-size: 90%"> the wrong'd Fates falne out w</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> Mercurie</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Pronounc'd for ever to attend upon</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All such as onely dreame of Helicon.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That durst I sweare cheated by selfe opinion</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I were Apolloes or the Muses Mynion 10</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Reason would yet assure me, 'tis decreed</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Such as are Poets borne, are borne to need.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">If the most worthy then, whose pay's but praise</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or a few spriggs from the now withering bayes</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Grone underneath their wants what hope have I</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Scarce yet allowed one of the Company— 16</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +p. 555 +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When</span><a id="noteref_584" name="noteref_584" href="#note_584"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">584</span></span></a><span style="font-size: 90%"> thou sighst, thou sigh'st not wind, but sigh'st my soule away</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">When thou weep'st unkindly kind, my lifes blud doth decay</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">It cannot bee</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That thou lov'est mee as thou sai'est, if in thine my life thou wast,</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Thou art the best of mee.</span><a id="noteref_585" name="noteref_585" href="#note_585"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">585</span></span></a></div> +<span class="tei tei-pb" id="page210">[pg 210]</span><a name="Pg210" id="Pg210" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">In some high mynded Ladies grace to stand</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ever provided that her liberall hand 30</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Pay for the Vertues they bestow upon her</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And soe long shees the miracle and the honor</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of her whole Sex, and has forsooth more worth</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Then was in any Sparta e're brought forth</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But when the Bounty failes a change is neare</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">And shee's not then what once shee did appeare</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For the new Giver shee dead must inherit</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What was by purchase gott and not by merit</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Lett them write well that doo this and in grace</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I would not for a pension or A place 40</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Part soe w</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> myne owne Candor, lett me rather p. 556</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Live poorely on those toyes I would not father</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Not knowne beyond A Player or A Man</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That does pursue the course that I have ran</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ere soe grow famous: yet w</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> any paine</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or honest industry could I obteyne</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A noble Favorer, I might write and doo</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Like others of more name and gett one too</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or els my Genius is false. I know</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That Johnson much of what he has does owe 50</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To you and to your familie, and is never</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Slow to professe it, nor had Fletcher ever</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Such Reputation, and credit nonne</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But by his honord Patron, Huntington</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Unimitable Spencer ne're had been</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Soe famous for his matchlesse Fairie Queene</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Had he not found a Spencer Sydney to preferr [</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">sic</span></span><span style="font-size: 90%">]</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">His plaine way in his Shepheards Calender</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nay Virgills selfe (or Martiall does lye)</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Could hardly frame a poore Gnatts Elegie 60</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Before Mecænas cherisht him; and then</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He streight conceiv'd Æneas and the men</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That found out Italic Those are Presidents</span><a id="noteref_586" name="noteref_586" href="#note_586"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">586</span></span></a></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I cite w</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> reverence: my lowe intents</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Looke not soe high, yet some worke I might frame</span></div> +<span class="tei tei-pb" id="page211">[pg 211]</span><a name="Pg211" id="Pg211" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That should nor wrong my duty nor your Name. p. 557</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Were but your Lo</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">pp</span></span><span style="font-size: 90%"> pleas'd to cast an eye</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of favour on my trodd downe povertie</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">How ever I confesse myselfe to be</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ever most bound for your best charitie 70</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To others that feed on it, and will pay</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">My prayers w</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> theirs that as y</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">u</span></span><span style="font-size: 90%"> doe y</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">u</span></span><span style="font-size: 90%"> may</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Live long, belov'd and honor'd doubtles then</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Soe cleere a life will find a worthier Penn.</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">For me I rest assur'd besides the glory</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">T'wold make a Poet but to write your story. 76</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +Phill: Messinger. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +p. 557 +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +II +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A New yeares Guift presented to my</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Lady and M:</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">rs</span></span><span style="font-size: 90%"> the then Lady</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Katherine Stanhop now Countesse</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">of Chesterfield.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By Phill: Messinger.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Madame</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Before I ow'd to you the name</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of Servant, to your birth, your worth your fame</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I was soe, and t'was fitt since all stand bound</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To honour Vertue in meane persons found</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Much more in you, that as borne great, are good</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">W</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">ch</span></span><span style="font-size: 90%"> is more then to come of noble blood</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Or be A Hastings; it being too well knowne</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +p. 558 +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">An Empresse cannot challenge as her oune</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Her Grandsires glories; And too many staine</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">W</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> their bad Actions the noble straine 10</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">From whence they come. But as in you to be</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">A branch to add fresh honor to the tree</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">By vertue planted, and adorne it new</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Is graunted unto none or very few</span></div> +<span class="tei tei-pb" id="page212">[pg 212]</span><a name="Pg212" id="Pg212" class="tei tei-anchor"></a> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To speake you further would appeare in me</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Presumption or a servants flattery</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But there may be a tyme when I shall dare</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To tell the world and boldly what y</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">u</span></span><span style="font-size: 90%"> are</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nor sleight it Madame, since what some in me</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Esteeme a blemish, is a guift as free 20</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As their best fortunes, this tooke from the grave</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Penelopies chastitie, and to it gave</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Still living Honors; this made Aiax strong</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Ulisses wise: such power lies in a Song</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">W</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">ch</span></span><span style="font-size: 90%"> Phaebus smiles on, w</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">ch</span></span><span style="font-size: 90%"> can find noe Urne</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">While the Sea his course, or starrs observe their turne</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Yet 'tis not in the power of tinckling Rime</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That</span><a id="noteref_587" name="noteref_587" href="#note_587"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">587</span></span></a><span style="font-size: 90%"> takes rash iudgments and deceive the tyme</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">W</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> Mountebanke showes a worke that shold indure</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Must have a genius in it, strong, as pure 30</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">But you beginne to smile, as wondring why</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I should write thus much to y</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">u</span></span><span style="font-size: 90%"> now since I</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Have heretofore been silent may y</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">u</span></span><span style="font-size: 90%"> please</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 37.80em"><span style="font-size: 90%">To know</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To know the course it is noe new disease p. 559</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Groune in my iudgment, nor am I of those</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">That thinke good wishes cannot thrive in prose</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">As well as Verse: but that this New yeares day</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">All in their loves and duties, what they may</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Present unto you; though perhaps some burne</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">W</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> expectation of a glad returne 40</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Of what they venture for. But such I leave</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To their deceiptfull guifts given to deceive</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">What I give I am rich in, and can spare</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Nor part for hope w</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; vertical-align: super">th</span></span><span style="font-size: 90%"> ought deserves my care</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">He that hath little and gives nought at all</span></div> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">To them that have is truly liberall. 46</span></div> +</div> +</div> + +</div> + +<span class="tei tei-pb" id="page213">[pg 213]</span><a name="Pg213" id="Pg213" class="tei tei-anchor"></a> + +<hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc41" id="toc41"></a> +<a name="pdf42" id="pdf42"></a> +<a name="Appendix_XVIII" id="Appendix_XVIII" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XVIII. Alliteration In Massinger</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The art with which Massinger employs alliteration escapes +all but the most careful perusal; but once noticed, it attracts +attention as one of his favourite expedients. Perhaps the +best way to exemplify its use is to give a complete collection +of instances from one of the plays: I take for this purpose +<span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span>. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 1, 150: Impartial judges, and not sway'd with spleen.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 158: Not lustful fires, but fair and lawful flames.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 189: Our goods made prize, our sailors sold for slaves.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 217: He that leaves</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 12.60em"><span style="font-size: 90%">To follow as you lead, will lose himself.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 286: Their lives, their liberties.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 308: Both what and when to do, but makes against you.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 309: For had your care and courage been the same.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 342: He may have leave and liberty to decide it.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 1, 14: With my best curiousness and care observed him.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 23: A sudden flash of fury did dry up.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 94: But dare and do, as they derive their courage.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 143: In a moment raz'd and ruin'd.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 157: In one short syllable yield satisfaction.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 170: With scorn on death and danger.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 177: But what is weak and womanish, thine own.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 183: As a serpent swoll'n with poison.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 226: Marseilles owes the freedom of her fears.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 241: That will vouchsafe not one sad sigh or tear.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 267: And with all circumstance and ceremony.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 3, 67: Nor should you with more curiousness and care.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 1, 10: It being a serious and solemn meeting.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 17: I'll undertake to stand at push of pike.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 21: When the dresser, the cook's drum, thunders,</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 13.50em"><span style="font-size: 90%">Come on!</span></div> +</div> + +<span class="tei tei-pb" id="page214">[pg 214]</span><a name="Pg214" id="Pg214" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 1, 23: As tall a trencher-man.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 32: The only drilling is to eat devoutly</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">And to be ever drinking.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 57: Delay is dangerous.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 88: Continue constant</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">To this one suit.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 90: Every cast commander.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 100: And so by consequence grow contemptible.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 117: For his own sake, shift a shirt!</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 2, 46: The colonels, commissioners, and captains.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 78: That losing her own servile shape and name.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 85: Believe my black brood swans.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 95: As I have heard, loved the lobby.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 150: Of her fair features, that, should we defer it.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 160: And serves as a perpetual preface to.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 3, 43: The curiousness and cost on Trajan's birthday.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 78: I've charged through fire that would have singed your sables.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 82: Such only are admired that come adorn'd.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 93: Does make your cupboards crack.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 114: For want of means shall, in their present payment.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 149: With my son, her servant.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 4, 89: And he shall find and feel, if he excuse not.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 1, 53: And liked and loath'd with your eyes, I beseech you.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 91: A loathsome leprosy had spread itself.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 101: Sir, you have liked and loved them, and oft forc'd.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 119: My ranks of reason.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 132: Thy virtues vices.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 133: Far worse than stubborn sullenness and pride.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 206: In your fame and fortunes.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 2, 47: Against my oath, being a cashier'd captain.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 68: Your lords</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 9.90em"><span style="font-size: 90%">Of dirt and dunghills.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 118: My corslet to a cradle.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 120: Or to sell my sword and spurs, for soap and candles?</span></div> +</div> + +<span class="tei tei-pb" id="page215">[pg 215]</span><a name="Pg215" id="Pg215" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +IV., 2. 135: Fair France is proud of. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> + " 148: Such as have power to punish. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +V., 2, 35: Or our later laws forbid. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> + " 38: And solemn superstitious fools prescribe. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> + " 57: Into some close cave or desert. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> + " 58: Our lusts and lives together. +</span></p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 165: But to have power to punish, and yet pardon,</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 9.90em"><span style="font-size: 90%">Peculiar to princes.</span></div> +</div> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> + " 248: Accuse or argue with me. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> + " 307: To season my silks. +</span></p> +</div> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc43" id="toc43"></a> +<a name="pdf44" id="pdf44"></a> +<a name="Appendix_XIX" id="Appendix_XIX" class="tei tei-anchor"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XIX</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +By the kindness of Mr. Edmund Gosse I have been enabled +to examine and collate the manuscript notes in copies of the +first quartos of the following plays in his possession: <span class="tei tei-hi"><span style="font-style: italic">The Duke +of Milan</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The +Maid of Honour</span></span>. The dates of these quartos range from +1623 to 1632. The poet Swinburne had no doubt that the +manuscript notes were due to Massinger himself; the resemblance +of the handwriting is certainly indubitable, but +as we have no other evidence than that of the corrections +themselves, we are forced to be content with the conclusion +that the insertions are of a contemporary date. I take the +plays in the above order. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 23.—This, the last line on the page, has suffered from +the binding, and is written in the margin.<a id="noteref_588" name="noteref_588" href="#note_588"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">588</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 56.—The same thing has happened here. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In both cases the writing resembles that of the poet. It +may be argued, on the other hand, that it is unlikely that the +play should have suffered so soon from binding; it is, however, +<span class="tei tei-pb" id="page216">[pg 216]</span><a name="Pg216" id="Pg216" class="tei tei-anchor"></a> +of course not impossible that the eight plays were bound up +together shortly after the year 1632. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 2, 203.—Forza. S. inserted before F. (So <span class="tei tei-hi"><span style="font-style: italic">infra</span></span>, 218, +234, 256.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +At the end of the play occurs a symbol M which might +represent the poet's initial. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Bondman</span></span> +</p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 1: Timagorus bis in stage-directions, us corrected to as</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 6.30em"><span style="font-size: 90%">and also in</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 6.30em"><span style="font-size: 90%">I., 1,5</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 1, 37: I love live</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 2, 2: I cannot brooke with this</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">gadding</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 3, 83: As to the supreame Magistrates Sicilie</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">surely tenders</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 161: And yet the chu rl added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 181: made glorious by Achon Action</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 182: gave warrant to her ailes added</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">couns</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 183: hand heard</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 206: nor defence noe</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 295: ? at end ? deleted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 319: of slaves our</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 1, 71: fam'd fann'd</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 87: vayle y deleted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 144: loose both sent and th inserted after</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 17.10em"><span style="font-size: 90%">beauty </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">loose,</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> and c in</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 42.30em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">sent</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 153: owe awe</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 2, 16: manners; yet this morning for</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 57: cunning coḿinge</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 62: ? added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">III., 3, 99: too too large second </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">too</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> deleted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 135: leave her off stand her of</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 165: during daring</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">III., 4, 29: Timandra Timag</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 51: cares feares</span></div> +</div> + +<span class="tei tei-pb" id="page217">[pg 217]</span><a name="Pg217" id="Pg217" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 1, 21: still you</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">IV., 2, 128: when where</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 140: </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">Pray you, leave mee</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 43.20em"><span style="font-size: 90%">added at end to complete</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 43.20em"><span style="font-size: 90%">the line</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 3, 145: tempter second t deleted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">V., 3, 9: not be deni'de to inserted before </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">be</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 38: howsoere the fortune thy</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 103: gods and fautors his</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 193: ) inserted after devices</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 245: Gra. inserted at beginning</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 44.10em"><span style="font-size: 90%">of line, (</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">i.e.</span></span><span style="font-size: 90%">,</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 44.10em"><span style="font-size: 90%">Graccho)</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +All these corrections are manifestly right, except possibly +III., 3, 135 and IV., 1, 21. The addition in IV., 2, 140, though +not especially appropriate to the situation, presents us with a +type of line much favoured by Massinger. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Roman Actor</span></span> +</p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 1, 6: stocke socc (</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">i.e.</span></span><span style="font-size: 90%">, sock)</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 25: parenthesis inserted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 42.30em"><span style="font-size: 90%">after </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">vice</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 37: gald l</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 44: The Catta and the Dacie Catti ... Daci</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 46: Jove hasten it ? added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 49: we obey you full stop added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 51: the sceane Scaene</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 79: is to eb</span><a id="noteref_589" name="noteref_589" href="#note_589"><span class="tei tei-noteref" style="text-align: left"><span style="font-size: 60%; vertical-align: super">589</span></span></a><span style="font-size: 90%"> guilty bee</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 115: grieve greive (</span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">give</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> is required</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 44.10em"><span style="font-size: 90%">by the sense)</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 2: Enter Domitia and Parthenius </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">with a letter</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 2, 33: for to be thankfull I woulde</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 44: his plea its</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 86: new workes that dare not Monarches. Pa: added,</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">do (</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">i.e.</span></span><span style="font-size: 90%">, Parthenius)</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 88: Parth. Will you dispute Parth. deleted and ?</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 43.20em"><span style="font-size: 90%">added.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 3, 44: ( ) added</span></div> +</div> + +<span class="tei tei-pb" id="page218">[pg 218]</span><a name="Pg218" id="Pg218" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 3, 53-4: ( ) added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 67: condemne condemnd</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 78: which with</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 78: redde (</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">i.e.</span></span><span style="font-size: 90%">, read) ) added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 86: Cancillus Camillus</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">I., 4, 13: Fulcinius and prisoners </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">and</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> deleted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 9.90em"><span style="font-size: 90%">led by him</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">II., 1, 4: yours ; added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 16: though ( added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 21: purple ! added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 22: my heyre ? added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 182-3: ( ) added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 217: promped prompted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 372: ( ) added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 386: ( ) added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 1, 30: words swordes</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 52: retch reach</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 58: the mortall powers iḿortall</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 78: tyrannie tyrant</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 163: steepie steep</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 205: ! added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 1, 8: I thinke not </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">not</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> deleted, and</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 30.60em"><span style="font-size: 90%">added after </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">respects</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 30.60em"><span style="font-size: 90%">in 9</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 95: compliant complaint</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 149: ? added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 2, 12: lesse; ; deleted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 27: pe bee</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 28: you command to me ever you coḿand me</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 39: tremele tremble</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 44: geeat great</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 70: Hypollitus one l substituted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 123: express thee stop added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 127: To render me that was ( ) added before</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 10.80em"><span style="font-size: 90%">before I hugg'd thee </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">that</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> and</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 10.80em"><span style="font-size: 90%">An adder in my bosome </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">before,</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> and after</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 31.50em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">thee</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> and</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 31.50em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">bosome</span><span style="font-size: 90%">”</span></span></div> +</div> + +<span class="tei tei-pb" id="page219">[pg 219]</span><a name="Pg219" id="Pg219" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">IV., 2, 130: Thy pomp and pride— 163 Perpetual vexation</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 12.60em"><span style="font-size: 90%">shall not fall.</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">Note at top of p. 31</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">b</span></span><span style="font-size: 90%">: </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">This page follows the</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 13.50em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">later.</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">Note at top of p. 32</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">a</span></span><span style="font-size: 90%">: </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">This page misplac'd.</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 182: would coulde</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 190: the iu ice st inverted inserted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 36.90em"><span style="font-size: 90%">here between </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">iu</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 36.90em"><span style="font-size: 90%">and </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">ice</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 191: had with h inverted had</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 196: if yf</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 229: act are</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 242: grim death </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">grim</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> deleted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 295: ( ) added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">V., 1, 115: assure as sure</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 142: still'd stil'd</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 3.60em"><span style="font-size: 90%">" 228: pinn'd pinion'd</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">V., 2, 22: iumpe impe</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 78: this murther 'tis</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 2.70em"><span style="font-size: 90%">" 85: to sentence her inserted after </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">to</span><span style="font-size: 90%">”</span></span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I have compared the Malone quarto in the Bodleian +Library and find that the mistakes are identical. In other +words, <span class="tei tei-hi"><span style="font-style: italic">The Roman Actor</span></span> was carelessly printed. Nearly all +the corrections made, alike of sense and punctuation, are improvements. +The emendation at IV., 2, 28 reads like one +made by the author. On the other hand, a careful study of +IV., 2, 127 will reveal the fact that the writer's sense has been +mistaken, and the omission of <span class="tei tei-q">“grim”</span> in IV., 2, 242 spoils +the rhythm. The curious thing is that the play is full of +misprints, which have not been corrected—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, III., 2, 143, +Anaxerete (and in several other lines); line 154, <span class="tei tei-q">“Epethite,”</span> +for <span class="tei tei-q">“epithet”</span>; 258, Heccuba. Take again IV., 2, 181: An e +is inverted and not corrected; 188, <span class="tei tei-q">“bttchered”</span> stands for +<span class="tei tei-q">“butchered”</span>; and 189, <span class="tei tei-q">“lacriledge”</span> for <span class="tei tei-q">“sacrilege.”</span> +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Renegado</span></span> +</p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">I., 3, 159: receive least losse </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">the</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> inserted after</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 36.90em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">least.</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> It spoils the</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 36.90em"><span style="font-size: 90%">metre</span></div> +</div> + +<span class="tei tei-pb" id="page220">[pg 220]</span><a name="Pg220" id="Pg220" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 5, 46: up to the bre a c breache</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" ? added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 3, 1: I will 'Twill</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 89: like a neighing gennet to mare to her proud</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 12.60em"><span style="font-size: 90%">her stallion stallion</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 5, 114: well made galley mann'd</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">IV., 1, 114: witnesse of my change </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">of</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> deleted: </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">good</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 36.00em"><span style="font-size: 90%">inserted after </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">my</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">V., 2, 79: Franci. inserted (=</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 37.80em"><span style="font-size: 90%">Francisco)</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">V., 3, 111: Vitelli inserted</span></div> +</div> +</div> + + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +III., 3, 89 reads like an author's emendation. On the other +hand, the alteration in IV., 1, 114 is not in Massinger's style. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Picture</span></span> +</p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">Line 37, Poem by T. Jay:</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 11.70em"><span style="font-size: 90%">of to heare or</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 38: write neere writ</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 40: admir'd admire</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 1, 31: satisfie satietie</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 40: ( ) added</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 53: If I am so rich or Sir</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 120: wone him o inserted after </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">o</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 154: wracke w deleted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 190: ere the fight begun s added after </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">fight</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 37.80em"><span style="font-size: 90%">(=is)</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 2, 13: bravel ye added</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 71: but deleted and added</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 37.80em"><span style="font-size: 90%">again in margin</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 170: examp le added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 1, 82: A post. deleted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 83: </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">Aside. A Post.</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 36.90em"><span style="font-size: 90%">added in margin</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 2, 98: </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">In one here</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> printed </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">In one here</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> deleted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 10.80em"><span style="font-size: 90%">in a separate line after (</span><span class="tei tei-hi" style="text-align: left"><span style="font-size: 90%; font-style: italic">vide</span></span><span style="font-size: 90%"> Gifford)</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 10.80em"><span style="font-size: 90%">this line</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 103: resolve s added</span></div> +</div> + +<span class="tei tei-pb" id="page221">[pg 221]</span><a name="Pg221" id="Pg221" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">II., 2, 103: lords of her, like acres</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 174: fierce dame n inserted before </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">m.</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 40.50em"><span style="font-size: 90%">dame=dam</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 255: solder soldier</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 4.50em"><span style="font-size: 90%">" 260: tosses trifles</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Here it will be noted that two good emendations are made—I., +1, 53 and II., 2, 103. On the other hand, no notes are +made on the last three acts: such a misprint as <span class="tei tei-q">“ijgobobs”</span> +in V., 3, 161 escaping comment. +</p> + +<div class="block tei tei-quote" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"> +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Fatal Dowry</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"><span style="font-size: 90%"> +Nil. +</span></p> + +<p class="tei tei-p" style="margin-bottom: 0.90em"> +<span class="tei tei-hi"><span style="font-size: 90%; font-style: italic">The Emperor of the East</span></span> +</p> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 1, 83: musicke? ? deleted, and </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">Sir?</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 40.50em"><span style="font-size: 90%">added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">I., 2, 169: too to</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 178: Constantinople courte</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 242: them feare their</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 291: care feare</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 323: Nimph Umph</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 347: wooned d deleted</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">II., 1, 114: in knowledge </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">the</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> inserted after</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 40.50em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">in</span><span style="font-size: 90%">”</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 2, 62: ( ) added</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 93: heaven is most gratious </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">to you</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> deleted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 14.40em"><span style="font-size: 90%">to you, madam</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 111: with a kinde impotence </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">of</span><span style="font-size: 90%">”</span></span><span style="font-size: 90%"> inserted after</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 40.50em"><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">kinde</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 138: I speak it ) added</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 139: I I (so III., 4, 145, 163;</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 40.50em"><span style="font-size: 90%">IV., 1, 13)</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 199: ransone m</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 4, 19: how .sister: !! added</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 29: str stirre</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 44: beg pardon a inserted after </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">beg</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 60: my pity t added above </span><span class="tei tei-q" style="text-align: left"><span style="font-size: 90%">“</span><span style="font-size: 90%">t</span><span style="font-size: 90%">”</span></span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 80: ? added</span></div> +</div> + +<span class="tei tei-pb" id="page222">[pg 222]</span><a name="Pg222" id="Pg222" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left"><span style="font-size: 90%">III., 4, 132: observe handle</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 146: royall sir comma added</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">IV., 1, 14: Princesse Empresse</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 0.90em"><span style="font-size: 90%">IV., 3, 36: they hee</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 43: fraide defray'd</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 62: camer cancer</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 132: this admiration thie</span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 0.90em; margin-top: 0.90em"> +<div class="tei tei-l" style="text-align: left; margin-left: 1.80em"><span style="font-size: 90%">V., 3, 47: flights s deleted</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 85: niggle iuggle</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 111: I fever if ever</span></div> +<div class="tei tei-l" style="text-align: left; margin-left: 5.40em"><span style="font-size: 90%">" 190: my grace on all cancelled</span></div> +</div> +</div> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The corrections in this play are nearly all good: thus the +metre is restored at I., 2, 178, and III., 2, 93, and improved in +III., 4, 132. V., 3, 85 is an excellent emendation. On the +other hand, I do not think the author would have made such +a stupid mistake as the one found at IV., 1, 14, for Chrysapius +is there addressing the Empress, about Pulcheria. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Nil. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Note by Mr. Edmund Gosse.</span></span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In 1877, when he was breaking up his home at Clifton, and +disposing of his books, John Addington Symonds gave Mr. +Edmund Gosse a thick volume containing eight first editions +of plays by Massinger. The book was bound in worn old calf +of the period, and had stamped on the back the author's +name. Symonds, in giving the book to Mr. Gosse, called his +attention to the contemporary corrections in ink, and said +there was <span class="tei tei-q">“a tradition”</span> that they were in the handwriting +of Massinger himself. Mr. Gosse, unfortunately, broke up the +volume and had the eight plays separately bound, but the +old binding had contained no further indication. In 1882 +Swinburne made a careful examination of the corrections, +and again in 1883, when he urged that they should be published. +He became persuaded that they were made by Massinger +himself. Nothing, however, has until now been done +<span class="tei tei-pb" id="page223">[pg 223]</span><a name="Pg223" id="Pg223" class="tei tei-anchor"></a> +with them. The volume came from the Harbord library at +Gunton in Norfolk, and was sold, with other old books, at +the death of the fourth Lord Suffield in 1853. Symonds +bought it of an Oxford bookseller when he was an undergraduate. +</p> + +</div> + +<div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc45" id="toc45"></a> +<a name="pdf46" id="pdf46"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Appendix XX. Bibliography</span></h1> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">W. Archer</span></span>: <span class="tei tei-q">“The Elizabethan Stage”</span> (Quarterly Review, +No. 415, April, 1908). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">R. Boyle</span></span>: Dictionary of National Biography: <span class="tei tei-q">“Massinger.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Englische Studien (Heilbronn): <span class="tei tei-q">“On Beaumont, +Fletcher, and Massinger,”</span> v. 74, vii, 66, +viii. 39, ix. 209, x. 383. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" New Shakespeare Society Transactions, part ii., +1880-85, xviii., pp. 371-399: <span class="tei tei-q">“Massinger and +The Two Noble Kinsmen.”</span> (<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Discussion +on March 9, 1883, p. 66.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" New Shakespeare Society Transactions, 1880-86, +xxi., pp. 443-488: <span class="tei tei-q">“Henry the Eighth.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" New Shakespeare Society Transactions, 1886, +xxvi., pp. 579-628. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">A. C. Bradley</span></span>: Oxford Lectures on Poetry: <span class="tei tei-q">“Shakespeare +the Man, and Shakespeare's Theatre and Audience.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">A. H. Bullen</span></span>: Dictionary of National Biography: <span class="tei tei-q">“Fletcher.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">H. Coleridge</span></span>: Preface to Massinger and Ford. 1840. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">S. T. Coleridge</span></span>: Lectures on Shakespeare and the Poets +(T. Ashe, 1883), pp. 403-407, 427, 432, 437, 534, 540. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">W. T. Courthope</span></span>: History of English Poetry, vol. iv., pp. 348-369. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">T. Coxeter</span></span>: The dramatic works of P. Massinger: 1761. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Lieut.-Col. F. Cunningham</span></span>: The plays of P. Massinger: +Chatto and Windus: 1870. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Downes</span></span>: Roscius Anglicanus. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Edinburgh Review</span></span>, No. 23, 1808. (Review of Gifford's +edition.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">F. G. Fleay</span></span>: Biographical Chronicle of the English Drama. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Chronicle History of the London Stage, 1559-1642. +</p> + +<span class="tei tei-pb" id="page224">[pg 224]</span><a name="Pg224" id="Pg224" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">F. G. Fleay</span></span>: Chronicle History of W. Shakespeare. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" New Shakespeare Society Transactions, 1874, +vol. i., No. 2: <span class="tei tei-q">“On Metrical Tests as applied +to Dramatic Poetry”</span> (Fletcher, Beaumont, +Massinger.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Shakespeare Manual. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Gardiner</span></span>: <span class="tei tei-q">“The Political Element in Massinger.”</span> (Contemporary +Review, August, 1876): reprinted in New +Shakespeare Society Transactions, 1875, No. xi., pp. 314-332. +(<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also History of England, 1884, vol. vii., +pp. 327 and 337) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Garnett and Gosse</span></span>: English Literature: an Illustrated +Record. Heinemann. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Gayley and Brander Matthews</span></span>: Representative English +Comedies, vol. iii. New York, 1914. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">W. Gifford</span></span>: 1805. Second edition, 1813. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">W. W. Greg</span></span>: Henslowe's Diary, vol. ii., pp. 165, 171, 224. +1904-08. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Henslowe Papers, pp. 66, 70, 74, 85. 1907. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" List of English Plays written before 1643 and +printed before 1700. Bibliographical Society, +1900. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Hallam</span></span>: Literature of Europe, part iii., chap. vi. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Hazlitt</span></span>: Lectures on Elizabethan Literature, pp. 131-136. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">E. Koeppel</span></span>: Cambridge History of English Literature, vol. vi., +chap, vi.: <span class="tei tei-q">“Massinger.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Quellen Studien zu den Dramen George Chapman's, +Philip Massinger's, und John Ford's. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">C. Lamb</span></span>: Specimens of English Dramatic Poets.<a id="noteref_590" name="noteref_590" href="#note_590"><span class="tei tei-noteref"><span style="font-size: 60%; vertical-align: super">590</span></span></a> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">G. C. Macaulay</span></span>: Cambridge History of English Literature, +vol. vi., chap. v.: <span class="tei tei-q">“Beaumont and Fletcher.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">J. Monck Mason</span></span>: Dramatic Works, 1779. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">E. H. C. Oliphant</span></span>: Englische Studien, xiv., xv., xvi. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Modern Language Review, iii., 337-355; +iv., 190-199, 342-351. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Problems of Authorship in the Elizabethan +Drama. Chicago, 1911. +</p> + +<span class="tei tei-pb" id="page225">[pg 225]</span><a name="Pg225" id="Pg225" class="tei tei-anchor"></a> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">J. Phelan</span></span>: Dissertation (Halle), 1878. This careful performance +contains information about Massinger's family. +(<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span>, however, Furnivall's Protest in Anglia, ii., +p. 504.) +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">J. M. Robertson</span></span>: The Baconian Heresy, chap. iii. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">G. Saintsbury</span></span>: Cambridge History of English Literature, +vol. v., chap, viii.: <span class="tei tei-q">“Shakespeare.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Schelling</span></span>: Elizabethan Drama, 1908. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Shakespeare's England</span></span>: Oxford University Press, 1916. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">L. Stephen</span></span>: Hours in a Library, vol. ii. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">A. C. Swinburne</span></span>: Contemporaries of Shakespeare (Gosse +and Wise). +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Fortnightly Review, July, 1889. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" Letters (Gosse and Wise), Nos. lxii. +and lxxiii. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">A. Symons</span></span>: Mermaid Series, two volumes. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Ashley H. Thorndike</span></span>: Tragedy. Constable, 1908. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">L. Wann</span></span>: Shakespeare Studies (University of Wisconsin), vii.: +<span class="tei tei-q">“The Collaboration of Beaumont, Fletcher, and Massinger.”</span> +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Sir A. W. Ward</span></span>: Cambridge History of English Literature, +vol. v., chap. xiv. +</p> + +<p class="tei tei-p" style="margin-bottom: 1.00em"> +" History of English Dramatic Literature, +especially vol. iii., pp. 1-47. +</p> + +</div> + +<span class="tei tei-pb" id="page226">[pg 226]</span><a name="Pg226" id="Pg226" class="tei tei-anchor"></a> + +<hr class="page" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> +<a name="toc47" id="toc47"></a> +<a name="pdf48" id="pdf48"></a> +<h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Index</span></h1> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">A</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-variant: small-caps">Aeschylus</span></span>, <a href="#Pg149" class="tei tei-ref" style="text-align: left">149</a>, <a href="#Pg169" class="tei tei-ref" style="text-align: left">169</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Alliteration in M., <a href="#Pg121" class="tei tei-ref" style="text-align: left">121</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Appendix_XVIII" class="tei tei-ref" style="text-align: left">App. XVIII</a>.</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Aristophanes, <a href="#Pg061" class="tei tei-ref" style="text-align: left">61</a>, <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a>, <a href="#Pg149" class="tei tei-ref" style="text-align: left">149</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Aristotle, <a href="#Pg027" class="tei tei-ref" style="text-align: left">27</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg075" class="tei tei-ref" style="text-align: left">75</a>, <a href="#Pg076" class="tei tei-ref" style="text-align: left">76</a>, <a href="#Pg110" class="tei tei-ref" style="text-align: left">110</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg140" class="tei tei-ref" style="text-align: left">140</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Armada, <a href="#Pg018" class="tei tei-ref" style="text-align: left">18</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Aubrey, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">À Wood, A., <a href="#Pg002" class="tei tei-ref" style="text-align: left">2</a>, <a href="#Pg006" class="tei tei-ref" style="text-align: left">6</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">B</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Bashful Lover, The</span></span>, <a href="#Pg048" class="tei tei-ref" style="text-align: left">48</a>, <a href="#Pg050" class="tei tei-ref" style="text-align: left">50</a>, <a href="#Pg057" class="tei tei-ref" style="text-align: left">57</a>, <a href="#Pg058" class="tei tei-ref" style="text-align: left">58</a>, <a href="#Pg075" class="tei tei-ref" style="text-align: left">75</a>, <a href="#Pg098" class="tei tei-ref" style="text-align: left">98</a>, <a href="#Pg131" class="tei tei-ref" style="text-align: left">131</a>, <a href="#Pg147" class="tei tei-ref" style="text-align: left">147</a>, <a href="#Pg199" class="tei tei-ref" style="text-align: left">199</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Beaumont, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg057" class="tei tei-ref" style="text-align: left">57</a>, <a href="#Pg059" class="tei tei-ref" style="text-align: left">59</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a>, <a href="#Pg094" class="tei tei-ref" style="text-align: left">94</a>, <a href="#Pg099" class="tei tei-ref" style="text-align: left">99</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg110" class="tei tei-ref" style="text-align: left">110</a>, <a href="#Pg129" class="tei tei-ref" style="text-align: left">129</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Beethoven, <a href="#Pg076" class="tei tei-ref" style="text-align: left">76</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Believe as You List</span></span>, <a href="#Pg015" class="tei tei-ref" style="text-align: left">15</a>, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg093" class="tei tei-ref" style="text-align: left">93</a>, <a href="#Pg140" class="tei tei-ref" style="text-align: left">140</a>, <a href="#Appendix_VII" class="tei tei-ref" style="text-align: left">App. VII.</a>, <a href="#Appendix_VIII" class="tei tei-ref" style="text-align: left">App. VIII</a>.</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Besant, Sir W., <a href="#Pg007" class="tei tei-ref" style="text-align: left">7</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Boccaccio, <a href="#Pg009" class="tei tei-ref" style="text-align: left">9</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg011" class="tei tei-ref" style="text-align: left">11</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg076" class="tei tei-ref" style="text-align: left">76</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Bondman, The</span></span>, <a href="#Pg015" class="tei tei-ref" style="text-align: left">15</a>, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a>, <a href="#Pg027" class="tei tei-ref" style="text-align: left">27</a>, <a href="#Pg031" class="tei tei-ref" style="text-align: left">31</a>, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg035" class="tei tei-ref" style="text-align: left">35</a>, <a href="#Pg036" class="tei tei-ref" style="text-align: left">36</a>, <a href="#Pg048" class="tei tei-ref" style="text-align: left">48</a>, <a href="#Pg061" class="tei tei-ref" style="text-align: left">61</a>, <a href="#Pg073" class="tei tei-ref" style="text-align: left">73</a>, <a href="#Pg075" class="tei tei-ref" style="text-align: left">75</a>, <a href="#Pg104" class="tei tei-ref" style="text-align: left">104</a>, <a href="#Pg108" class="tei tei-ref" style="text-align: left">108</a>, <a href="#Pg134" class="tei tei-ref" style="text-align: left">134</a>, <a href="#Pg145" class="tei tei-ref" style="text-align: left">145</a>, <a href="#Pg150" class="tei tei-ref" style="text-align: left">150</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Boyle, <a href="#Pg002" class="tei tei-ref" style="text-align: left">2</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a>, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg055" class="tei tei-ref" style="text-align: left">55</a>, <a href="#Pg056" class="tei tei-ref" style="text-align: left">56</a>, <a href="#Pg062" class="tei tei-ref" style="text-align: left">62</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg088" class="tei tei-ref" style="text-align: left">88</a>, <a href="#Pg096" class="tei tei-ref" style="text-align: left">96</a>, <a href="#Pg097" class="tei tei-ref" style="text-align: left">97-104</a>, <a href="#Pg109" class="tei tei-ref" style="text-align: left">109</a>, <a href="#Pg122" class="tei tei-ref" style="text-align: left">122</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg129" class="tei tei-ref" style="text-align: left">129</a>, <a href="#Pg131" class="tei tei-ref" style="text-align: left">131</a>, <a href="#Appendix_III" class="tei tei-ref" style="text-align: left">App. III.</a>, <a href="#Pg198" class="tei tei-ref" style="text-align: left">198</a>, <a href="#Pg200" class="tei tei-ref" style="text-align: left">200</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Bradley, A. C., <a href="#Pg014" class="tei tei-ref" style="text-align: left">14</a>, <a href="#Pg026" class="tei tei-ref" style="text-align: left">26</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg080" class="tei tei-ref" style="text-align: left">80</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 16</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Bridges, R., <a href="#Pg069" class="tei tei-ref" style="text-align: left">69</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg175" class="tei tei-ref" style="text-align: left">175</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Brooke, R., <a href="#Pg111" class="tei tei-ref" style="text-align: left">111</a>, <a href="#Pg159" class="tei tei-ref" style="text-align: left">159</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Brooke, Tucker, <a href="#Pg095" class="tei tei-ref" style="text-align: left">95-97</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Browne, Sir T., <a href="#Pg082" class="tei tei-ref" style="text-align: left">82</a>, <a href="#Pg119" class="tei tei-ref" style="text-align: left">119</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Buckingham, Duke of, <a href="#Pg016" class="tei tei-ref" style="text-align: left">16</a>, <a href="#Pg204" class="tei tei-ref" style="text-align: left">204</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Bullen, A. H., <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a>, <a href="#Pg095" class="tei tei-ref" style="text-align: left">95</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Appendix_III" class="tei tei-ref" style="text-align: left">App. III.</a>, <a href="#Pg178" class="tei tei-ref" style="text-align: left">178</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 6, <a href="#Pg201" class="tei tei-ref" style="text-align: left">201</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Bunyan, <a href="#Pg108" class="tei tei-ref" style="text-align: left">108</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">C</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Catalogue lines, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg091" class="tei tei-ref" style="text-align: left">91</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Cayet, <a href="#Pg178" class="tei tei-ref" style="text-align: left">178</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 6, <a href="#Pg193" class="tei tei-ref" style="text-align: left">193</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Cervantes, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5, <a href="#Pg203" class="tei tei-ref" style="text-align: left">203</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Chapman, <a href="#Pg015" class="tei tei-ref" style="text-align: left">15</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg066" class="tei tei-ref" style="text-align: left">66</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg117" class="tei tei-ref" style="text-align: left">117</a>, <a href="#Pg139" class="tei tei-ref" style="text-align: left">139</a>, <a href="#Pg202" class="tei tei-ref" style="text-align: left">202</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Charles I., <a href="#Pg007" class="tei tei-ref" style="text-align: left">7</a>, <a href="#Pg015" class="tei tei-ref" style="text-align: left">15</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Cibber, Colley, <a href="#Pg176" class="tei tei-ref" style="text-align: left">176</a>, <a href="#Pg181" class="tei tei-ref" style="text-align: left">181</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">City Madam, The</span></span>, <a href="#Pg010" class="tei tei-ref" style="text-align: left">10</a>, <a href="#Pg011" class="tei tei-ref" style="text-align: left">11</a>, <a href="#Pg013" class="tei tei-ref" style="text-align: left">13</a>, <a href="#Pg031" class="tei tei-ref" style="text-align: left">31</a>, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg043" class="tei tei-ref" style="text-align: left">43</a>, <a href="#Pg053" class="tei tei-ref" style="text-align: left">53</a>, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg055" class="tei tei-ref" style="text-align: left">55</a>, <a href="#Pg073" class="tei tei-ref" style="text-align: left">73</a>, <a href="#Pg113" class="tei tei-ref" style="text-align: left">113</a>, <a href="#Pg116" class="tei tei-ref" style="text-align: left">116</a>, <a href="#Pg133" class="tei tei-ref" style="text-align: left">133</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Cokaine, Sir A., <a href="#Pg022" class="tei tei-ref" style="text-align: left">22</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Coleridge, S. T., <a href="#Pg055" class="tei tei-ref" style="text-align: left">55</a>, <a href="#Pg064" class="tei tei-ref" style="text-align: left">64</a>, <a href="#Pg071" class="tei tei-ref" style="text-align: left">71</a>, <a href="#Pg076" class="tei tei-ref" style="text-align: left">76</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Collier, J., <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Corneille, <a href="#Pg043" class="tei tei-ref" style="text-align: left">43</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Courthope, <a href="#Pg096" class="tei tei-ref" style="text-align: left">96</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Croker, T. Crofton, <a href="#Pg175" class="tei tei-ref" style="text-align: left">175</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Cunningham, F., <a href="#Pg007" class="tei tei-ref" style="text-align: left">7</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a>, <a href="#Pg133" class="tei tei-ref" style="text-align: left">133</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg182" class="tei tei-ref" style="text-align: left">182</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">D</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Daborne, <a href="#Pg002" class="tei tei-ref" style="text-align: left">2</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Davies, <a href="#Pg123" class="tei tei-ref" style="text-align: left">123</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Dekker, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg044" class="tei tei-ref" style="text-align: left">44</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg123" class="tei tei-ref" style="text-align: left">123</a>, <a href="#Pg135" class="tei tei-ref" style="text-align: left">135</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg147" class="tei tei-ref" style="text-align: left">147</a>, <a href="#Appendix_X" class="tei tei-ref" style="text-align: left">App. X.</a>, <a href="#Pg199" class="tei tei-ref" style="text-align: left">199</a>, <a href="#Pg200" class="tei tei-ref" style="text-align: left">200</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Diderot, <a href="#Pg110" class="tei tei-ref" style="text-align: left">110</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Dostoevsky, <a href="#Pg061" class="tei tei-ref" style="text-align: left">61</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Double Falsehood, The</span></span>, <a href="#Appendix_XV" class="tei tei-ref" style="text-align: left">App. XV.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Downes, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Dryden, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a>, <a href="#Pg116" class="tei tei-ref" style="text-align: left">116</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Dublin MS., <a href="#Appendix_XVII" class="tei tei-ref" style="text-align: left">App. XVII.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Duke of Milan, The</span></span>, <a href="#Pg016" class="tei tei-ref" style="text-align: left">16</a>, <a href="#Pg031" class="tei tei-ref" style="text-align: left">31</a>, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg041" class="tei tei-ref" style="text-align: left">41</a>, <a href="#Pg052" class="tei tei-ref" style="text-align: left">52</a>, <a href="#Pg081" class="tei tei-ref" style="text-align: left">81</a>, <a href="#Pg082" class="tei tei-ref" style="text-align: left">82</a>, <a href="#Pg135" class="tei tei-ref" style="text-align: left">135</a>, <a href="#Pg145" class="tei tei-ref" style="text-align: left">145</a>, <a href="#Pg203" class="tei tei-ref" style="text-align: left">203</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">E</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Emperor of the East, The</span></span>, <a href="#Pg017" class="tei tei-ref" style="text-align: left">17</a>, <a href="#Pg027" class="tei tei-ref" style="text-align: left">27</a>, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg043" class="tei tei-ref" style="text-align: left">43</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg048" class="tei tei-ref" style="text-align: left">48</a>, <a href="#Pg051" class="tei tei-ref" style="text-align: left">51</a>, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg072" class="tei tei-ref" style="text-align: left">72</a>, <a href="#Pg082" class="tei tei-ref" style="text-align: left">82</a>, <a href="#Pg101" class="tei tei-ref" style="text-align: left">101</a>, <a href="#Pg102" class="tei tei-ref" style="text-align: left">102</a>, <a href="#Pg108" class="tei tei-ref" style="text-align: left">108</a>, <a href="#Pg128" class="tei tei-ref" style="text-align: left">128</a>, <a href="#Pg146" class="tei tei-ref" style="text-align: left">146</a>, <a href="#Pg148" class="tei tei-ref" style="text-align: left">148</a>, <a href="#Pg149" class="tei tei-ref" style="text-align: left">149</a>, <a href="#Pg170" class="tei tei-ref" style="text-align: left">170</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Euripides, <a href="#Pg027" class="tei tei-ref" style="text-align: left">27</a>, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a>, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a>, <a href="#Pg075" class="tei tei-ref" style="text-align: left">75</a>, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a>, <a href="#Pg110" class="tei tei-ref" style="text-align: left">110</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg169" class="tei tei-ref" style="text-align: left">169</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">F</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Fair Penitent, The</span></span>, <a href="#Pg137" class="tei tei-ref" style="text-align: left">137</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Fatal Dowry, The</span></span>, <a href="#Pg008" class="tei tei-ref" style="text-align: left">8</a>, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4, <a href="#Pg036" class="tei tei-ref" style="text-align: left">36</a>, <a href="#Pg049" class="tei tei-ref" style="text-align: left">49</a>, <a href="#Pg053" class="tei tei-ref" style="text-align: left">53</a>, <a href="#Pg056" class="tei tei-ref" style="text-align: left">56</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg119" class="tei tei-ref" style="text-align: left">119</a>, <a href="#Appendix_XI" class="tei tei-ref" style="text-align: left">App:. XI.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Field, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a>, <a href="#Pg138" class="tei tei-ref" style="text-align: left">138</a>, <a href="#Appendix_XI" class="tei tei-ref" style="text-align: left">App. XI</a>.</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Fielding, <a href="#Pg063" class="tei tei-ref" style="text-align: left">63</a>, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Fleay, F. G., <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg056" class="tei tei-ref" style="text-align: left">56</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg057" class="tei tei-ref" style="text-align: left">57</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg159" class="tei tei-ref" style="text-align: left">159</a>, <a href="#Pg202" class="tei tei-ref" style="text-align: left">202</a></div> +</div> + +<span class="tei tei-pb" id="page227">[pg 227]</span><a name="Pg227" id="Pg227" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Fletcher, <a href="#Pg003" class="tei tei-ref" style="text-align: left">3</a>, <a href="#Pg010" class="tei tei-ref" style="text-align: left">10</a>, <a href="#Pg019" class="tei tei-ref" style="text-align: left">19</a>, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg059" class="tei tei-ref" style="text-align: left">59</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg066" class="tei tei-ref" style="text-align: left">66</a>, <a href="#Pg071" class="tei tei-ref" style="text-align: left">71</a>, <a href="#Pg084" class="tei tei-ref" style="text-align: left">84</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg091" class="tei tei-ref" style="text-align: left">91</a>, <a href="#Pg097" class="tei tei-ref" style="text-align: left">97</a>, <a href="#Pg098" class="tei tei-ref" style="text-align: left">98</a>, <a href="#Pg109" class="tei tei-ref" style="text-align: left">109</a>, <a href="#Pg123" class="tei tei-ref" style="text-align: left">123</a>, <a href="#Pg129" class="tei tei-ref" style="text-align: left">129</a>, <a href="#Pg130" class="tei tei-ref" style="text-align: left">130</a>, <a href="#Pg133" class="tei tei-ref" style="text-align: left">133</a>, <a href="#Pg135" class="tei tei-ref" style="text-align: left">135</a>, <a href="#Pg147" class="tei tei-ref" style="text-align: left">147</a>, <a href="#Appendix_III" class="tei tei-ref" style="text-align: left">App. III.</a>, <a href="#Pg170" class="tei tei-ref" style="text-align: left">170</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Ford, <a href="#Pg008" class="tei tei-ref" style="text-align: left">8</a>, <a href="#Pg013" class="tei tei-ref" style="text-align: left">13</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5, <a href="#Pg013" class="tei tei-ref" style="text-align: left">13</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 6, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg059" class="tei tei-ref" style="text-align: left">59</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg062" class="tei tei-ref" style="text-align: left">62</a>, <a href="#Pg063" class="tei tei-ref" style="text-align: left">63</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg081" class="tei tei-ref" style="text-align: left">81</a>, <a href="#Pg120" class="tei tei-ref" style="text-align: left">120</a>, <a href="#Pg205" class="tei tei-ref" style="text-align: left">205</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">G</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Gardiner, <a href="#Pg007" class="tei tei-ref" style="text-align: left">7</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Garrick, <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4, <a href="#Pg176" class="tei tei-ref" style="text-align: left">176</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Gayley, <a href="#Pg026" class="tei tei-ref" style="text-align: left">26</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4, <a href="#Pg141" class="tei tei-ref" style="text-align: left">141</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg160" class="tei tei-ref" style="text-align: left">160</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Georgian Poets, The, <a href="#Pg061" class="tei tei-ref" style="text-align: left">61</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Gibbon, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Gifford, <a href="#Pg007" class="tei tei-ref" style="text-align: left">7</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg176" class="tei tei-ref" style="text-align: left">176</a>, <a href="#Appendix_IX" class="tei tei-ref" style="text-align: left">App. IX.</a>, <a href="#Pg198" class="tei tei-ref" style="text-align: left">198</a>, <a href="#Pg220" class="tei tei-ref" style="text-align: left">220</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Goffe, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg202" class="tei tei-ref" style="text-align: left">202</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Gosse, E., <a href="#Appendix_XIX" class="tei tei-ref" style="text-align: left">App. XIX.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Gounod, <a href="#Pg109" class="tei tei-ref" style="text-align: left">109</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg137" class="tei tei-ref" style="text-align: left">137</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Great Duke of Florence, The</span></span>, <a href="#Pg016" class="tei tei-ref" style="text-align: left">16</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg047" class="tei tei-ref" style="text-align: left">47</a>, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg102" class="tei tei-ref" style="text-align: left">102</a>, <a href="#Pg103" class="tei tei-ref" style="text-align: left">103</a>, <a href="#Pg150" class="tei tei-ref" style="text-align: left">150</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Greene, <a href="#Pg102" class="tei tei-ref" style="text-align: left">102</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Greg, W. W., <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg067" class="tei tei-ref" style="text-align: left">67</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg168" class="tei tei-ref" style="text-align: left">168</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Grosart, <a href="#Pg006" class="tei tei-ref" style="text-align: left">6</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg208" class="tei tei-ref" style="text-align: left">208</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Guardian, The</span></span>, <a href="#Pg004" class="tei tei-ref" style="text-align: left">4</a>, <a href="#Pg012" class="tei tei-ref" style="text-align: left">12</a>, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a>, <a href="#Pg027" class="tei tei-ref" style="text-align: left">27</a>, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg049" class="tei tei-ref" style="text-align: left">49</a>, <a href="#Pg074" class="tei tei-ref" style="text-align: left">74</a>, <a href="#Pg120" class="tei tei-ref" style="text-align: left">120</a>, <a href="#Pg134" class="tei tei-ref" style="text-align: left">134</a>, <a href="#Pg148" class="tei tei-ref" style="text-align: left">148</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">H</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Hallam, <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Hazlitt, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4, <a href="#Pg137" class="tei tei-ref" style="text-align: left">137</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Henry VIII.</span></span>, <a href="#Pg011" class="tei tei-ref" style="text-align: left">11</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg022" class="tei tei-ref" style="text-align: left">22</a>, <a href="#Pg071" class="tei tei-ref" style="text-align: left">71</a>, <a href="#Pg073" class="tei tei-ref" style="text-align: left">73</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> <a href="#Pg001" class="tei tei-ref" style="text-align: left">1</a>, <a href="#Pg084" class="tei tei-ref" style="text-align: left">84-91</a>, <a href="#Pg128" class="tei tei-ref" style="text-align: left">128</a>, <a href="#Pg141" class="tei tei-ref" style="text-align: left">141</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Henslowe, <a href="#Pg004" class="tei tei-ref" style="text-align: left">4</a>, <a href="#Pg177" class="tei tei-ref" style="text-align: left">177</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Herbert, Sir H., <a href="#Pg015" class="tei tei-ref" style="text-align: left">15</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Heywood, <a href="#Pg117" class="tei tei-ref" style="text-align: left">117</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Homer, <a href="#Pg169" class="tei tei-ref" style="text-align: left">169</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Hroswitha, <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">J</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">James I., <a href="#Pg007" class="tei tei-ref" style="text-align: left">7</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Johnson, S., <a href="#Pg121" class="tei tei-ref" style="text-align: left">121</a> n. 2</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Jonson, Ben, <a href="#Pg006" class="tei tei-ref" style="text-align: left">6</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg012" class="tei tei-ref" style="text-align: left">12</a>, <a href="#Pg043" class="tei tei-ref" style="text-align: left">43</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg069" class="tei tei-ref" style="text-align: left">69</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4, <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a>, <a href="#Pg072" class="tei tei-ref" style="text-align: left">72</a>, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg113" class="tei tei-ref" style="text-align: left">113-116</a>, <a href="#Pg118" class="tei tei-ref" style="text-align: left">118</a>, <a href="#Pg128" class="tei tei-ref" style="text-align: left">128</a>, <a href="#Pg133" class="tei tei-ref" style="text-align: left">133</a>, <a href="#Pg185" class="tei tei-ref" style="text-align: left">185</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">K</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Kean, <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Kemble, <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Knacke to Know a Knave, A</span></span>, <a href="#Pg208" class="tei tei-ref" style="text-align: left">208</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Koeppel, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg178" class="tei tei-ref" style="text-align: left">178</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 6, <a href="#Pg193" class="tei tei-ref" style="text-align: left">193</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Kyd, <a href="#Pg127" class="tei tei-ref" style="text-align: left">127</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">L</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Lamb, C., <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a>, <a href="#Pg122" class="tei tei-ref" style="text-align: left">122</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg199" class="tei tei-ref" style="text-align: left">199</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Langbaine, <a href="#Pg002" class="tei tei-ref" style="text-align: left">2</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg034" class="tei tei-ref" style="text-align: left">34</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Lee, Sir Sidney, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg112" class="tei tei-ref" style="text-align: left">112</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Love Lost in the Dark</span></span>, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Lyly, <a href="#Pg117" class="tei tei-ref" style="text-align: left">117</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">M</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Macaulay, G. C., <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Appendix_III" class="tei tei-ref" style="text-align: left">App. III.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Maid of Honour, The</span></span>, <a href="#Pg016" class="tei tei-ref" style="text-align: left">16</a>, <a href="#Pg018" class="tei tei-ref" style="text-align: left">18</a>, <a href="#Pg027" class="tei tei-ref" style="text-align: left">27</a>, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg040" class="tei tei-ref" style="text-align: left">40</a>, <a href="#Pg074" class="tei tei-ref" style="text-align: left">74</a>, <a href="#Pg103" class="tei tei-ref" style="text-align: left">103</a>, <a href="#Pg132" class="tei tei-ref" style="text-align: left">132</a>, <a href="#Pg146" class="tei tei-ref" style="text-align: left">146</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Malone, <a href="#Pg015" class="tei tei-ref" style="text-align: left">15</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg015" class="tei tei-ref" style="text-align: left">15</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a>, <a href="#Pg176" class="tei tei-ref" style="text-align: left">176</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Marlowe, <a href="#Pg029" class="tei tei-ref" style="text-align: left">29</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg110" class="tei tei-ref" style="text-align: left">110</a>, <a href="#Pg117" class="tei tei-ref" style="text-align: left">117</a>, <a href="#Pg150" class="tei tei-ref" style="text-align: left">150</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 10</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Marston, <a href="#Pg062" class="tei tei-ref" style="text-align: left">62</a>, <a href="#Pg112" class="tei tei-ref" style="text-align: left">112</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg159" class="tei tei-ref" style="text-align: left">159</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Massinger, Arthur, <a href="#Pg001" class="tei tei-ref" style="text-align: left">1</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Massinger, Philip: life, <a href="#Pg002" class="tei tei-ref" style="text-align: left">2</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">religion, <a href="#Pg003" class="tei tei-ref" style="text-align: left">3</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">knowledge of Spanish, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">death, <a href="#Pg007" class="tei tei-ref" style="text-align: left">7</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">politics, <a href="#Pg014" class="tei tei-ref" style="text-align: left">14</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">stagecraft, <a href="#Pg026" class="tei tei-ref" style="text-align: left">26</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">style, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">versification, <a href="#Pg055" class="tei tei-ref" style="text-align: left">55</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">faults, <a href="#Pg060" class="tei tei-ref" style="text-align: left">60</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">imitation of Shakspere, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">introduction of doctors, <a href="#Pg081" class="tei tei-ref" style="text-align: left">81</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">method, <a href="#Pg104" class="tei tei-ref" style="text-align: left">104</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">favourite words, <a href="#Pg106" class="tei tei-ref" style="text-align: left">106</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">character, <a href="#Pg118" class="tei tei-ref" style="text-align: left">118</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">use of epithets, <a href="#Pg120" class="tei tei-ref" style="text-align: left">120</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">use of assonances, <a href="#Pg121" class="tei tei-ref" style="text-align: left">121</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">knowledge of Greek, <a href="#Appendix_II" class="tei tei-ref" style="text-align: left">App. II.</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">a metrical peculiarity, <a href="#Appendix_VI" class="tei tei-ref" style="text-align: left">App. VI.</a>;</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em">use of alliteration, <a href="#Appendix_XVIII" class="tei tei-ref" style="text-align: left">App. XVIII.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Matthews, Brander, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg045" class="tei tei-ref" style="text-align: left">45</a>, <a href="#Pg064" class="tei tei-ref" style="text-align: left">64</a>, <a href="#Pg071" class="tei tei-ref" style="text-align: left">71</a>, <a href="#Pg123" class="tei tei-ref" style="text-align: left">123</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 4, <a href="#Pg142" class="tei tei-ref" style="text-align: left">142</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg160" class="tei tei-ref" style="text-align: left">160</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Matthieu, P., <a href="#Pg006" class="tei tei-ref" style="text-align: left">6</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Appendix_XIV" class="tei tei-ref" style="text-align: left">App. XIV.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Middleton, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a>, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg062" class="tei tei-ref" style="text-align: left">62</a>, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a>, <a href="#Pg127" class="tei tei-ref" style="text-align: left">127</a>, <a href="#Pg141" class="tei tei-ref" style="text-align: left">141</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg147" class="tei tei-ref" style="text-align: left">147</a>, <a href="#Pg158" class="tei tei-ref" style="text-align: left">158</a>, <a href="#Appendix_XVI" class="tei tei-ref" style="text-align: left">App. XVI.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Milton, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg051" class="tei tei-ref" style="text-align: left">51</a>, <a href="#Pg055" class="tei tei-ref" style="text-align: left">55</a>, <a href="#Pg069" class="tei tei-ref" style="text-align: left">69</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Monck Mason, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg123" class="tei tei-ref" style="text-align: left">123</a>, <a href="#Pg134" class="tei tei-ref" style="text-align: left">134</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Montgomery, Philip, Earl of Pembroke and, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a>, <a href="#Pg014" class="tei tei-ref" style="text-align: left">14</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Mozart, <a href="#Pg076" class="tei tei-ref" style="text-align: left">76</a>, <a href="#Pg088" class="tei tei-ref" style="text-align: left">88</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">N</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">New Way to Pay Old Debts, A</span></span>, <a href="#Pg012" class="tei tei-ref" style="text-align: left">12</a>, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg047" class="tei tei-ref" style="text-align: left">47</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg048" class="tei tei-ref" style="text-align: left">48</a>, <a href="#Pg052" class="tei tei-ref" style="text-align: left">52</a>, <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a>, <a href="#Pg108" class="tei tei-ref" style="text-align: left">108</a>, <a href="#Pg115" class="tei tei-ref" style="text-align: left">115</a>, <a href="#Pg122" class="tei tei-ref" style="text-align: left">122</a>, <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a>, <a href="#Pg142" class="tei tei-ref" style="text-align: left">142</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Nichol Smith, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">O</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Old Law, The</span></span>, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a>, <a href="#Pg141" class="tei tei-ref" style="text-align: left">141</a>, <a href="#Pg158" class="tei tei-ref" style="text-align: left">158</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Oliphant, E. H. C., <a href="#Pg059" class="tei tei-ref" style="text-align: left">59</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg162" class="tei tei-ref" style="text-align: left">162</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Ovid, <a href="#Pg034" class="tei tei-ref" style="text-align: left">34</a>, <a href="#Pg105" class="tei tei-ref" style="text-align: left">105</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg151" class="tei tei-ref" style="text-align: left">151</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">P</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Parliament of Love, The</span></span>, <a href="#Pg042" class="tei tei-ref" style="text-align: left">42</a>, <a href="#Pg050" class="tei tei-ref" style="text-align: left">50</a>, <a href="#Pg059" class="tei tei-ref" style="text-align: left">59</a>, <a href="#Pg060" class="tei tei-ref" style="text-align: left">60</a>, <a href="#Pg082" class="tei tei-ref" style="text-align: left">82</a>, <a href="#Pg083" class="tei tei-ref" style="text-align: left">83</a>, <a href="#Pg092" class="tei tei-ref" style="text-align: left">92</a>, <a href="#Pg139" class="tei tei-ref" style="text-align: left">139</a>, <a href="#Pg146" class="tei tei-ref" style="text-align: left">146</a>, App. IX.</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Peele, <a href="#Pg142" class="tei tei-ref" style="text-align: left">142</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Pembroke, second Earl of, <a href="#Pg002" class="tei tei-ref" style="text-align: left">2</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Pembroke, third Earl of, <a href="#Pg006" class="tei tei-ref" style="text-align: left">6</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Pepys, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Phelan, <a href="#Pg137" class="tei tei-ref" style="text-align: left">137</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg203" class="tei tei-ref" style="text-align: left">203</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Philipps, Halliwell, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg176" class="tei tei-ref" style="text-align: left">176</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Picture, The</span></span>, <a href="#Pg008" class="tei tei-ref" style="text-align: left">8</a>, <a href="#Pg009" class="tei tei-ref" style="text-align: left">9</a>, <a href="#Pg029" class="tei tei-ref" style="text-align: left">29</a>, <a href="#Pg050" class="tei tei-ref" style="text-align: left">50</a>, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg073" class="tei tei-ref" style="text-align: left">73</a>, <a href="#Pg074" class="tei tei-ref" style="text-align: left">74</a>, <a href="#Pg082" class="tei tei-ref" style="text-align: left">82</a>, <a href="#Pg111" class="tei tei-ref" style="text-align: left">111</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg140" class="tei tei-ref" style="text-align: left">140</a>, <a href="#Pg146" class="tei tei-ref" style="text-align: left">146</a></div> +</div> + +<span class="tei tei-pb" id="page228">[pg 228]</span><a name="Pg228" id="Pg228" class="tei tei-anchor"></a> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Plautus, <a href="#Pg002" class="tei tei-ref" style="text-align: left">2</a>, <a href="#Pg067" class="tei tei-ref" style="text-align: left">67</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg104" class="tei tei-ref" style="text-align: left">104</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Powerful Favourite, The</span></span>, <a href="#Pg006" class="tei tei-ref" style="text-align: left">6</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Appendix_XIV" class="tei tei-ref" style="text-align: left">App. XIV.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Prince of Tarent, The</span></span>, vide <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">A Very Woman</span></span></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Prynne, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Puritans, <a href="#Pg010" class="tei tei-ref" style="text-align: left">10</a>, <a href="#Pg045" class="tei tei-ref" style="text-align: left">45</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">R</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Renegado, The</span></span>, <a href="#Pg003" class="tei tei-ref" style="text-align: left">3</a>, <a href="#Pg013" class="tei tei-ref" style="text-align: left">13</a>, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a>, <a href="#Pg027" class="tei tei-ref" style="text-align: left">27</a>, <a href="#Pg031" class="tei tei-ref" style="text-align: left">31</a>, <a href="#Pg053" class="tei tei-ref" style="text-align: left">53</a>, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a>, <a href="#Pg074" class="tei tei-ref" style="text-align: left">74</a>, <a href="#Pg075" class="tei tei-ref" style="text-align: left">75</a>, <a href="#Pg134" class="tei tei-ref" style="text-align: left">134</a>, <a href="#Pg145" class="tei tei-ref" style="text-align: left">145</a>, <a href="#Pg149" class="tei tei-ref" style="text-align: left">149</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Repetition of words and phrases, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg197" class="tei tei-ref" style="text-align: left">197</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Richardson, <a href="#Pg135" class="tei tei-ref" style="text-align: left">135</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Roman Actor, The</span></span>, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a>, <a href="#Pg038" class="tei tei-ref" style="text-align: left">38</a>, <a href="#Pg052" class="tei tei-ref" style="text-align: left">52</a>, <a href="#Pg066" class="tei tei-ref" style="text-align: left">66</a>, <a href="#Pg072" class="tei tei-ref" style="text-align: left">72</a>, <a href="#Pg082" class="tei tei-ref" style="text-align: left">82</a>, <a href="#Pg116" class="tei tei-ref" style="text-align: left">116</a>, <a href="#Pg126" class="tei tei-ref" style="text-align: left">126</a>, <a href="#Pg137" class="tei tei-ref" style="text-align: left">137</a>, <a href="#Pg146" class="tei tei-ref" style="text-align: left">146</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Rosenbach, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Rowe, <a href="#Pg056" class="tei tei-ref" style="text-align: left">56</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg137" class="tei tei-ref" style="text-align: left">137</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Rowley, W., <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a>, <a href="#Pg141" class="tei tei-ref" style="text-align: left">141</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg142" class="tei tei-ref" style="text-align: left">142</a>, <a href="#Pg168" class="tei tei-ref" style="text-align: left">168</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">S</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Schelling, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 5, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Schmidt, <a href="#Pg043" class="tei tei-ref" style="text-align: left">43</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg171" class="tei tei-ref" style="text-align: left">171</a>, <a href="#Pg175" class="tei tei-ref" style="text-align: left">175</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Scott, Sir W., <a href="#Pg068" class="tei tei-ref" style="text-align: left">68</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Sea scenes, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Second Maiden's Tragedy, The</span></span>, <a href="#Appendix_XIII" class="tei tei-ref" style="text-align: left">App. XIII.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Sero sed Serio</span></span>, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Shakspere, <a href="#Pg003" class="tei tei-ref" style="text-align: left">3</a>, <a href="#Pg012" class="tei tei-ref" style="text-align: left">12</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg018" class="tei tei-ref" style="text-align: left">18</a>, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg029" class="tei tei-ref" style="text-align: left">29</a>, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a>, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg043" class="tei tei-ref" style="text-align: left">43</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg043" class="tei tei-ref" style="text-align: left">43</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg045" class="tei tei-ref" style="text-align: left">45</a>,</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em"><a href="#Pg049" class="tei tei-ref" style="text-align: left">49</a>, <a href="#Pg056" class="tei tei-ref" style="text-align: left">56</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg063" class="tei tei-ref" style="text-align: left">63</a>, <a href="#Pg069" class="tei tei-ref" style="text-align: left">69</a>, <a href="#Pg070" class="tei tei-ref" style="text-align: left">70</a>, <a href="#Pg072" class="tei tei-ref" style="text-align: left">72</a>, <a href="#Pg073" class="tei tei-ref" style="text-align: left">73</a>, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77-80</a>, <a href="#Pg083" class="tei tei-ref" style="text-align: left">83</a>, <a href="#Pg085" class="tei tei-ref" style="text-align: left">85</a>, <a href="#Pg087" class="tei tei-ref" style="text-align: left">87</a>, <a href="#Pg090" class="tei tei-ref" style="text-align: left">90</a>, <a href="#Pg091" class="tei tei-ref" style="text-align: left">91</a>, <a href="#Pg098" class="tei tei-ref" style="text-align: left">98</a>, <a href="#Pg099" class="tei tei-ref" style="text-align: left">99</a>,</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em"><a href="#Pg101" class="tei tei-ref" style="text-align: left">101</a>, <a href="#Pg109" class="tei tei-ref" style="text-align: left">109</a>, <a href="#Pg113" class="tei tei-ref" style="text-align: left">113</a>, <a href="#Pg118" class="tei tei-ref" style="text-align: left">118</a>, <a href="#Pg121" class="tei tei-ref" style="text-align: left">121-123</a>, <a href="#Pg125" class="tei tei-ref" style="text-align: left">125</a>, <a href="#Pg128" class="tei tei-ref" style="text-align: left">128</a>, <a href="#Pg130" class="tei tei-ref" style="text-align: left">130</a>, <a href="#Pg135" class="tei tei-ref" style="text-align: left">135</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg137" class="tei tei-ref" style="text-align: left">137</a>, <a href="#Pg147" class="tei tei-ref" style="text-align: left">147</a>, <a href="#Pg153" class="tei tei-ref" style="text-align: left">153</a>,</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em"><a href="#Appendix_IV" class="tei tei-ref" style="text-align: left">App. IV.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Shelley, <a href="#Pg031" class="tei tei-ref" style="text-align: left">31</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Shirley, <a href="#Pg116" class="tei tei-ref" style="text-align: left">116</a>, <a href="#Pg126" class="tei tei-ref" style="text-align: left">126</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg147" class="tei tei-ref" style="text-align: left">147</a>, <a href="#Pg180" class="tei tei-ref" style="text-align: left">180</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Signorelli, Luca, <a href="#Pg061" class="tei tei-ref" style="text-align: left">61</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Simpson, P., <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg133" class="tei tei-ref" style="text-align: left">133</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg203" class="tei tei-ref" style="text-align: left">203</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Sir J. V. O. Barnavelt</span></span>, <a href="#Pg008" class="tei tei-ref" style="text-align: left">8</a>, <a href="#Pg009" class="tei tei-ref" style="text-align: left">9</a>, <a href="#Pg052" class="tei tei-ref" style="text-align: left">52</a>, <a href="#Pg139" class="tei tei-ref" style="text-align: left">139</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg177" class="tei tei-ref" style="text-align: left">177</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Appendix_XII" class="tei tei-ref" style="text-align: left">App. XII.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Sophocles, <a href="#Pg150" class="tei tei-ref" style="text-align: left">150</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Stephen, Sir Leslie, <a href="#Pg045" class="tei tei-ref" style="text-align: left">45</a>, <a href="#Pg068" class="tei tei-ref" style="text-align: left">68</a>, <a href="#Pg076" class="tei tei-ref" style="text-align: left">76</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg076" class="tei tei-ref" style="text-align: left">76</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg132" class="tei tei-ref" style="text-align: left">132</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Stevenson, <a href="#Pg064" class="tei tei-ref" style="text-align: left">64</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Strangest Adventure, The</span></span>, <a href="#Pg178" class="tei tei-ref" style="text-align: left">178</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Subordinates combined, <a href="#Pg029" class="tei tei-ref" style="text-align: left">29</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Swinburne, <a href="#Pg052" class="tei tei-ref" style="text-align: left">52</a>, <a href="#Pg151" class="tei tei-ref" style="text-align: left">151</a>, <a href="#Pg215" class="tei tei-ref" style="text-align: left">215</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Sykes, Dugdale, <a href="#Pg093" class="tei tei-ref" style="text-align: left">93</a>, <a href="#Pg094" class="tei tei-ref" style="text-align: left">94</a>, <a href="#Pg096" class="tei tei-ref" style="text-align: left">96</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Symonds, J. A., <a href="#Pg222" class="tei tei-ref" style="text-align: left">222</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">T</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Taylor, J., <a href="#Pg124" class="tei tei-ref" style="text-align: left">124</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Theobald, <a href="#Pg204" class="tei tei-ref" style="text-align: left">204</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Torture on stage, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Tourneur, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg055" class="tei tei-ref" style="text-align: left">55</a>, <a href="#Pg062" class="tei tei-ref" style="text-align: left">62</a>, <a href="#Pg157" class="tei tei-ref" style="text-align: left">157</a>, <a href="#Pg203" class="tei tei-ref" style="text-align: left">203</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Turks, <a href="#Pg009" class="tei tei-ref" style="text-align: left">9</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Two Noble Kinsmen, The</span></span>, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg022" class="tei tei-ref" style="text-align: left">22</a>, <a href="#Pg023" class="tei tei-ref" style="text-align: left">23</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg092" class="tei tei-ref" style="text-align: left">92-104</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">U</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Unnatural Combat, The</span></span>, <a href="#Pg008" class="tei tei-ref" style="text-align: left">8</a>, <a href="#Pg028" class="tei tei-ref" style="text-align: left">28</a>, <a href="#Pg031" class="tei tei-ref" style="text-align: left">31</a>, <a href="#Pg054" class="tei tei-ref" style="text-align: left">54</a>, <a href="#Pg069" class="tei tei-ref" style="text-align: left">69</a>, <a href="#Pg138" class="tei tei-ref" style="text-align: left">138</a>, <a href="#Appendix_XVIII" class="tei tei-ref" style="text-align: left">App. XVIII.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">V</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Very Woman, A</span></span>, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a>, <a href="#Pg042" class="tei tei-ref" style="text-align: left">42</a>, <a href="#Pg050" class="tei tei-ref" style="text-align: left">50</a>, <a href="#Pg081" class="tei tei-ref" style="text-align: left">81</a>, <a href="#Pg082" class="tei tei-ref" style="text-align: left">82</a>, <a href="#Pg084" class="tei tei-ref" style="text-align: left">84</a>, <a href="#Pg100" class="tei tei-ref" style="text-align: left">100</a>, <a href="#Pg102" class="tei tei-ref" style="text-align: left">102</a>, <a href="#Pg108" class="tei tei-ref" style="text-align: left">108</a>, <a href="#Pg129" class="tei tei-ref" style="text-align: left">129</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Virgil, <a href="#Pg127" class="tei tei-ref" style="text-align: left">127</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Virgin Martyr</span></span>, <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">The</span></span>, <a href="#Pg003" class="tei tei-ref" style="text-align: left">3</a>, <a href="#Pg018" class="tei tei-ref" style="text-align: left">18</a>, <a href="#Pg020" class="tei tei-ref" style="text-align: left">20</a>, <a href="#Pg024" class="tei tei-ref" style="text-align: left">24</a>, <a href="#Pg031" class="tei tei-ref" style="text-align: left">31</a>, <a href="#Pg032" class="tei tei-ref" style="text-align: left">32</a>, <a href="#Pg033" class="tei tei-ref" style="text-align: left">33</a>, <a href="#Pg046" class="tei tei-ref" style="text-align: left">46</a>, <a href="#Pg047" class="tei tei-ref" style="text-align: left">47</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3, <a href="#Pg062" class="tei tei-ref" style="text-align: left">62</a>, <a href="#Pg072" class="tei tei-ref" style="text-align: left">72</a>,</div> +<div class="tei tei-l" style="text-align: left; margin-left: 2.00em"><a href="#Pg073" class="tei tei-ref" style="text-align: left">73</a>, <a href="#Pg081" class="tei tei-ref" style="text-align: left">81</a>, <a href="#Pg120" class="tei tei-ref" style="text-align: left">120</a>, <a href="#Pg123" class="tei tei-ref" style="text-align: left">123</a>, <a href="#Pg142" class="tei tei-ref" style="text-align: left">142</a>, <a href="#Pg149" class="tei tei-ref" style="text-align: left">149</a>, <a href="#Appendix_X" class="tei tei-ref" style="text-align: left">App. X.</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Vocabulary of M., <a href="#Pg106" class="tei tei-ref" style="text-align: left">106</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">W</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Warburton, <a href="#Pg023" class="tei tei-ref" style="text-align: left">23</a>, App. V.</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Ward, Sir A., <a href="#Pg025" class="tei tei-ref" style="text-align: left">25</a>, <a href="#Pg065" class="tei tei-ref" style="text-align: left">65</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 1, <a href="#Pg110" class="tei tei-ref" style="text-align: left">110</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Warner, Sir G. F., <a href="#Pg177" class="tei tei-ref" style="text-align: left">177</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Weber, <a href="#Pg021" class="tei tei-ref" style="text-align: left">21</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 6</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Webster, <a href="#Pg005" class="tei tei-ref" style="text-align: left">5</a>, <a href="#Pg029" class="tei tei-ref" style="text-align: left">29</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 2, <a href="#Pg111" class="tei tei-ref" style="text-align: left">111-113</a>, <a href="#Pg159" class="tei tei-ref" style="text-align: left">159</a></div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left"><span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">Wit and Fancy in a Maze</span></span>, <a href="#Pg077" class="tei tei-ref" style="text-align: left">77</a> <span class="tei tei-hi" style="text-align: left"><span style="font-style: italic">n.</span></span> 3</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Z</div> +</div> + +<div class="tei tei-lg" style="margin-bottom: 1.00em; margin-top: 1.00em"> +<div class="tei tei-l" style="text-align: left">Zielinski, <a href="#Pg050" class="tei tei-ref" style="text-align: left">50</a></div> +</div> + +</div> + +</div> + +<hr class="doublepage" /><div class="tei tei-back" style="margin-bottom: 2.00em; margin-top: 6.00em"> + <div id="footnotes" class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <a name="toc49" id="toc49"></a> + <a name="pdf50" id="pdf50"></a> + <h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Footnotes</span></h1> + <dl class="tei tei-list-footnotes"><dt class="tei tei-notelabel"><a id="note_1" name="note_1" href="#noteref_1">1.</a></dt><dd class="tei tei-notetext">It is much to be wished that someone would essay the +same task for Beaumont and Fletcher, though there the work +would be less easy, partly from the looseness of the metres, +partly from the corruption of the text, but chiefly from the +presence of prose-passages bordering on verse.</dd><dt class="tei tei-notelabel"><a id="note_2" name="note_2" href="#noteref_2">2.</a></dt><dd class="tei tei-notetext">A. à Wood's <span class="tei tei-hi"><span style="font-style: italic">Fasti Oxonienses</span></span>, p. 313.</dd><dt class="tei tei-notelabel"><a id="note_3" name="note_3" href="#noteref_3">3.</a></dt><dd class="tei tei-notetext">Herein he resembled F. Beaumont. G. Langbaine, on +the other hand, says that the Earl sent Massinger to Oxford, +where he <span class="tei tei-q">“closely pursued his studies.”</span> But we must be +careful how we believe Langbaine; his account of our poet +begins thus: <span class="tei tei-q">“This author was born at Salisbury, in the reign +of King Charles the First, being son to Philip Massinger, a +gentleman belonging to the Earl of Montgomery.”</span> Here are +three gross blunders at once.</dd><dt class="tei tei-notelabel"><a id="note_4" name="note_4" href="#noteref_4">4.</a></dt><dd class="tei tei-notetext">Boyle (<span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, xxi., p. 472) says that <span class="tei tei-q">“Massinger's +inveterate habit of repeating himself arose probably from his +profession as an actor.”</span> I know of no evidence for this hypothesis. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span>, however, p. 6, note 1.</dd><dt class="tei tei-notelabel"><a id="note_5" name="note_5" href="#noteref_5">5.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Mommsen's <span class="tei tei-hi"><span style="font-style: italic">History of Rome</span></span>, English translation, +vol. ii., p. 440.</dd><dt class="tei tei-notelabel"><a id="note_6" name="note_6" href="#noteref_6">6.</a></dt><dd class="tei tei-notetext">Thus in the play of <span class="tei tei-hi"><span style="font-style: italic">Lady Jane</span></span>, of which <span class="tei tei-hi"><span style="font-style: italic">The Famous +History of Sir T. Wyatt</span></span> is a fragment, we find five authors +concerned. It will be remembered that Eupolis contributed +to the <span class="tei tei-hi"><span style="font-style: italic">Knights</span></span> of Aristophanes.</dd><dt class="tei tei-notelabel"><a id="note_7" name="note_7" href="#noteref_7">7.</a></dt><dd class="tei tei-notetext">For some account of Field see Appendix XI.</dd><dt class="tei tei-notelabel"><a id="note_8" name="note_8" href="#noteref_8">8.</a></dt><dd class="tei tei-notetext">Daborne's letters bulk large in the Henslowe Correspondence. +We have two plays of his: <span class="tei tei-hi"><span style="font-style: italic">A Christian turn'd Turke</span></span>, +based on the story of the pirate Ward; and <span class="tei tei-hi"><span style="font-style: italic">The Poor Man's +Comfort</span></span>, a tragi-comedy. Like Marston, he abandoned the +stage in middle life and took orders, before 1618. It is therefore +unlikely that he collaborated with Massinger in any of +the plays which we possess.</dd><dt class="tei tei-notelabel"><a id="note_9" name="note_9" href="#noteref_9">9.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Such a reference to <span class="tei tei-hi"><span style="font-style: italic">Acta Sanctorum</span></span> as is contained +in these lines might be made by an Anglican: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Antoninus</span></span>. It may be, the duty<br /> +And loyal service, with which I pursued her,<br /> +And sealed it with my death, will be remember'd<br /> +Among her blessed <span class="tei tei-hi"><span style="font-style: italic">actions</span></span>.—<span class="tei tei-hi"><span style="font-style: italic">V. M.</span></span>, IV., 3, 28. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +More stress might be laid on the metaphor contained in +these lines: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Theophilus</span></span>. O! mark it, therefore, and with that attention, +As you would hear an embassy from heaven, +<span class="tei tei-hi"><span style="font-style: italic">By a wing'd legate</span></span>.—<span class="tei tei-hi"><span style="font-style: italic">V. M.</span></span>, V., 2, 103.</p></dd><dt class="tei tei-notelabel"><a id="note_10" name="note_10" href="#noteref_10">10.</a></dt><dd class="tei tei-notetext">No doubt it required courage to present a Jesuit in this +way so soon after Gunpowder Plot; and the curious argument +in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, V., 1, 28-41, in favour of lay-baptism +certainly shows a mind interested in ecclesiastical problems.</dd><dt class="tei tei-notelabel"><a id="note_11" name="note_11" href="#noteref_11">11.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, I., 1, 24-32.</dd><dt class="tei tei-notelabel"><a id="note_12" name="note_12" href="#noteref_12">12.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Two Gentlemen of Verona</span></span>, V., 1.</dd><dt class="tei tei-notelabel"><a id="note_13" name="note_13" href="#noteref_13">13.</a></dt><dd class="tei tei-notetext">Friar Paulo takes an important part in <span class="tei tei-hi"><span style="font-style: italic">The Maid of +Honour</span></span>, ad finem. Octavio, disguised as a priest, elicits +Alonzo's repentance in <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, IV., 2. The same +expedient occurs in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, V., 3, where +Theodosius, disguised as a friar, convinces himself of his +wife's innocence. Shakspere disguises the Duke as a friar +in <span class="tei tei-hi"><span style="font-style: italic">Measure for Measure</span></span>, II., 3, III., 1, 2, IV., 1, 2, 3.</dd><dt class="tei tei-notelabel"><a id="note_14" name="note_14" href="#noteref_14">14.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">See the photograph at the beginning of the book. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also +Greg's Henslowe Papers, article 68. Fleay identifies the +play referred to in the document as <span class="tei tei-hi"><span style="font-style: italic">The Honest Man of +Fortune</span></span>, acted in 1613. In the first Dublin poem, after +referring to the patronage which had befriended Jonson and +Fletcher, Massinger goes on thus: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“These are precedents<br /> +I cite with reverence; my low intents<br /> +Look not so high; yet some work I might frame<br /> +That should not wrong my duty, nor your name;<br /> +Were but your lordship pleased to cast an eye<br /> +Of favour on my trod-down poverty.”</span> +</p></dd><dt class="tei tei-notelabel"><a id="note_15" name="note_15" href="#noteref_15">15.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> W. W. Greg's <span class="tei tei-hi"><span style="font-style: italic">Henslowe's Diary</span></span>, vol. ii., pp. 110-147. +Mr. Greg points out (p. 113) that <span class="tei tei-q">“there is no record of any +speculations of Henslowe's own as far as the evidence of the +Diary is concerned. The accounts are company accounts”</span>—<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, +of The Rose and Fortune Theatres. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +We have also at Dulwich a bond from R. Daborne and +P. Massinger to Philip Henslowe for payment of £3, dated +July 4th, 1615. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Greg's Henslowe Papers, article 102.</p></dd><dt class="tei tei-notelabel"><a id="note_16" name="note_16" href="#noteref_16">16.</a></dt><dd class="tei tei-notetext">Licensed March 4th, 1631.</dd><dt class="tei tei-notelabel"><a id="note_17" name="note_17" href="#noteref_17">17.</a></dt><dd class="tei tei-notetext">Licensed May 6th, 1631.</dd><dt class="tei tei-notelabel"><a id="note_18" name="note_18" href="#noteref_18">18.</a></dt><dd class="tei tei-notetext">See poem <span class="tei tei-q">“Sero sed serio”</span> (Cunningham, p. 628); +<span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 37; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, I., 2, 116; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the +East</span></span>, II., 1, 45. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Catiline</span></span>; II, 1.</dd><dt class="tei tei-notelabel"><a id="note_19" name="note_19" href="#noteref_19">19.</a></dt><dd class="tei tei-notetext">Aubrey, in his <span class="tei tei-hi"><span style="font-style: italic">Natural History of Wiltshire</span></span> (ed. J. Britton, +1847, p. 31), distinctly says that the poet had a pension of +twenty or thirty pounds per annum, which was <span class="tei tei-q">“payed to +his wife after his decease.”</span></dd><dt class="tei tei-notelabel"><a id="note_20" name="note_20" href="#noteref_20">20.</a></dt><dd class="tei tei-notetext">Younger brother of William Herbert, Earl of Pembroke.</dd><dt class="tei tei-notelabel"><a id="note_21" name="note_21" href="#noteref_21">21.</a></dt><dd class="tei tei-notetext">The dedication begins thus: <span class="tei tei-q">“However I could never +arrive at the happiness to be made known to your lordship,”</span> +etc.</dd><dt class="tei tei-notelabel"><a id="note_22" name="note_22" href="#noteref_22">22.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">No doubt he knew some foreign languages. His plays +come from various sources, French, Italian, and Spanish, some +of which, however, had been translated into English. <span class="tei tei-hi"><span style="font-style: italic">The +Renegado</span></span> is traceable to a comedy of Cervantes, <span class="tei tei-hi"><span style="font-style: italic">Los Baños de +Argel</span></span>, printed in 1615. <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span> is derived +from a French translation of Zonaras. If, which is doubtful, +<span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span> owes anything to Guicciardini, his history +had appeared in an English translation by Sir Geoffrey +Fenton in 1579. Fleay has a curious theory that where +French scenes are found in Fletcher they are due to Massinger. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Much interesting information on the great debt which +Fletcher and other dramatists owed to Spanish literature will +be found in F. E. Schelling's <span class="tei tei-hi"><span style="font-style: italic">Elizabethan Drama</span></span>, vol. ii., +pp. 205-218 and 530. Schelling comes to the conclusion +that Fletcher did not know Spanish; but he quotes an unpublished +dictum of his friend Dr. Rosenbach, who holds it as +certain that Massinger knew Spanish. <span class="tei tei-hi"><span style="font-style: italic">The Island Princess</span></span> +is based on a Spanish play, of which no translation is known, +<span class="tei tei-hi"><span style="font-style: italic">Conquista de las islas Malucas</span></span>, by De Argensola, 1609. Rosenbach +attributes the play to Massinger! It is clear, however, +that a translation may have been in circulation from which +Fletcher took his materials, or somebody may have seen the +play acted in Spain, and reported it to him. Further, <span class="tei tei-hi"><span style="font-style: italic">Love's +Cure</span></span> is based on the <span class="tei tei-hi"><span style="font-style: italic">Comedia de la Fuerza de la Costumbre</span></span>, by +Guillen De Castro, licensed at Valencia, February 7th, 1625, +and published three months later. Fletcher died in August, +1625, and Stiefel thinks that he read Spanish, and that this +is his last work. Rosenbach and Bullen assign the play to +Massinger (<span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> Appendix III., No. 29). It is highly desirable +that the grounds which led Rosenbach to believe that Massinger +knew Spanish should be made public.</p></dd><dt class="tei tei-notelabel"><a id="note_23" name="note_23" href="#noteref_23">23.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Lines 39-45 run thus: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let them write well that do this, and in grace.<br /> +I would not for a pension or a place<br /> +Part so with over candour: let me rather<br /> +Live poorly on those toys I would not father;<br /> +Not known beyond a player or a man,<br /> +That does pursue the course that I have ran.<br /> +Ere so grow famous. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Lines 41-42 are interesting as seeming to hint that Massinger +preferred to waive publicity as to his collaboration with +Fletcher and others. The poem was published by A. B. +Grosart in <span class="tei tei-hi"><span style="font-style: italic">Englische Studien</span></span>, xxvi., pp. 1-7, and will be found +with the original spelling and punctuation in <a href="#Appendix_XVII" class="tei tei-ref">Appendix XVII</a>.</p></dd><dt class="tei tei-notelabel"><a id="note_24" name="note_24" href="#noteref_24">24.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">A. O.</span></span>, ii., 654-656. A. à Wood includes in the list of +Massinger's plays <span class="tei tei-hi"><span style="font-style: italic">Powerful Favourite, or the Life of Sejanus</span></span>. +As Massinger was but nineteen in 1603 he cannot have been +the <span class="tei tei-q">“happy genius”</span> referred to in the address <span class="tei tei-q">“to the +readers”</span> of Ben Jonson's play. For the explanation of the +mistaken attribution of <span class="tei tei-hi"><span style="font-style: italic">The Powerful Favourite</span></span>, <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> Appendix +XIV.</dd><dt class="tei tei-notelabel"><a id="note_25" name="note_25" href="#noteref_25">25.</a></dt><dd class="tei tei-notetext">Gifford was right as to the date and Cunningham wrong. +The entry in question is as follows: <span class="tei tei-q">“March 18th, 1639 +[<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, old style], Philip Massenger, a stranger.”</span> The entry +about Fletcher runs thus: <span class="tei tei-q">“Aug. 29, 1625, John Ffletcher +[sic], a man, in the church.”</span> Entries such as <span class="tei tei-q">“a man,”</span> <span class="tei tei-q">“a +boy,”</span> <span class="tei tei-q">“a girl”</span> are not unusual in the book, and the practice +of burial <span class="tei tei-q">“in the church”</span> was comparatively common +at the time.</dd><dt class="tei tei-notelabel"><a id="note_26" name="note_26" href="#noteref_26">26.</a></dt><dd class="tei tei-notetext">The stone inscribed with his name in the chancel of +St. Saviour's does not mark the place of his burial, which +is unknown.</dd><dt class="tei tei-notelabel"><a id="note_27" name="note_27" href="#noteref_27">27.</a></dt><dd class="tei tei-notetext">By a charming if undesigned coincidence the Massinger +window stands next to that of Shakspere. It represents two +scenes from <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, and, unfortunately, repeats +the erroneous date (1639) of the poet's death, and gives 1583 +as the year of his birth.</dd><dt class="tei tei-notelabel"><a id="note_28" name="note_28" href="#noteref_28">28.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Contemporary Review</span></span>, August, 1876.</dd><dt class="tei tei-notelabel"><a id="note_29" name="note_29" href="#noteref_29">29.</a></dt><dd class="tei tei-notetext">II., 2, 140.</dd><dt class="tei tei-notelabel"><a id="note_30" name="note_30" href="#noteref_30">30.</a></dt><dd class="tei tei-notetext">Intercourse with the Low Countries is referred to in the +<span class="tei tei-hi"><span style="font-style: italic">New Way</span></span> (I., 2, 75). The monastery to which Sir John +Frugal retires is at <span class="tei tei-q">“Lovain”</span> (<span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, III., 2, 58). +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also for the University of <span class="tei tei-q">“Lovain”</span> <span class="tei tei-hi"><span style="font-style: italic">The Elder Brother</span></span>, +II., 1.</dd><dt class="tei tei-notelabel"><a id="note_31" name="note_31" href="#noteref_31">31.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">III., 1, 38. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Frank Wellborn's petition, V., 1, +<span class="tei tei-foreign"><span style="font-style: italic">ad finem</span></span>. Compare the part played in <span class="tei tei-hi"><span style="font-style: italic">Sir John Barnavelt</span></span> by +the English mercenaries in Holland; and especially IV., 2. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Orange.</span></span> I have sent patents out for the choicest companies<br /> +Hither to be remov'd, first Colonel Vere's<br /> +From Dort, next Sir Charles Morgan's, a stout Company. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 3. <span class="tei tei-hi"><span style="font-variant: small-caps">Barnavelt</span></span> (<span class="tei tei-hi"><span style="font-style: italic">to his daughter</span></span>): +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +What! wouldst thou have a husband?<br /> +Go marry an English Captain, and he'll teach thee<br /> +How to defy thy father and his fortune. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1. <span class="tei tei-hi"><span style="font-variant: small-caps">Barnavelt</span></span>: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But have you tried by any means (it skills not<br /> +How much you promise) to win th' old soldier<br /> +(The English Companies in chief I aim at)<br /> +To stand firm for us? +</p></dd><dt class="tei tei-notelabel"><a id="note_32" name="note_32" href="#noteref_32">32.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1, 243, 278; <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, +I., 2, 62; II., 1, 145; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 1, 3-5; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 1, 84; +V., 4, 160; <span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, V., 5, 28. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> in Marlowe, <span class="tei tei-hi"><span style="font-style: italic">Tamburlaine</span></span>, +Pt. I., III., 3; Pt. II., I., 2; <span class="tei tei-hi"><span style="font-style: italic">Jew of Malta</span></span>, I., 1; +II. 2. For a Christian pirate <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Decameron</span></span>, II. 4.</dd><dt class="tei tei-notelabel"><a id="note_33" name="note_33" href="#noteref_33">33.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, IV., 3, 77; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, IV., 1, 99-102; II., 6, 32.</dd><dt class="tei tei-notelabel"><a id="note_34" name="note_34" href="#noteref_34">34.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, III., 1.</dd><dt class="tei tei-notelabel"><a id="note_35" name="note_35" href="#noteref_35">35.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_36" name="note_36" href="#noteref_36">36.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 1, 84. Similarly in <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, +V., 3, 110, Matilda warns Lorenzo that <span class="tei tei-q">“Heaven's liberal +hand”</span> has designed him to fight rather against the Turk than +a Christian neighbour-king. Compare <span class="tei tei-hi"><span style="font-style: italic">The Devil's Law-case</span></span> +(p. 138<span class="tei tei-hi"><span style="font-style: italic">b</span></span>). +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Ercole.</span></span> When our bloods<br /> +Embrac'd each other, then I pitied<br /> +That so much valour should be hazarded<br /> +On the fortune of a single rapier<br /> +And not spent against the Turk. +</p></dd><dt class="tei tei-notelabel"><a id="note_37" name="note_37" href="#noteref_37">37.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, II., 5, 24 and 64-73. Bertoldo, the Knight +of Malta, is the hero of <span class="tei tei-hi"><span style="font-style: italic">The Maid of Honour</span></span>. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also +Fletcher's play of that name; and <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, V., 4, 143-145.</dd><dt class="tei tei-notelabel"><a id="note_38" name="note_38" href="#noteref_38">38.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, V., 2, 230. We find a similar emphasis +on the Turk and pirates in Webster's <span class="tei tei-hi"><span style="font-style: italic">White Devil</span></span> and<span class="tei tei-hi"><span style="font-style: italic"> Devil's +Law-case</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_39" name="note_39" href="#noteref_39">39.</a></dt><dd class="tei tei-notetext">The <span class="tei tei-q">“zealous coblers”</span> and <span class="tei tei-q">“learned botchers”</span> who +preach at Amsterdam are mentioned in <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, I., 1, 30-32. +In <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span>, III., 1, 75, the <span class="tei tei-q">“Hugonots”</span> are +referred to as using the word <span class="tei tei-q">“mortified.”</span> <span class="tei tei-q">“Geneva print”</span> +is mentioned in <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, I., 1, 11; <span class="tei tei-q">“precisians”</span> in +<span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, I., 1, 6, use the word <span class="tei tei-q">“verity.”</span></dd><dt class="tei tei-notelabel"><a id="note_40" name="note_40" href="#noteref_40">40.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Fair Maid</span></span>, IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_41" name="note_41" href="#noteref_41">41.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, III., 1, 124: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Merchant.</span></span> They have a city, Sir—I have been in it.<br /> +And therefore dare affirm it—where if you saw<br /> +With what a load of vanity 'tis fraughted,<br /> +How like an everlasting morris-dance it looks,<br /> +Nothing but hobby-horse and Maid Marian,<br /> +You would start indeed. +</p></dd><dt class="tei tei-notelabel"><a id="note_42" name="note_42" href="#noteref_42">42.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Old Law</span></span>, IV., 1, 20; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, III., 2, 169; <span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, +III., 5, 29 and 70; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, I., 3, 74. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Decameron</span></span>, II. 5.</dd><dt class="tei tei-notelabel"><a id="note_43" name="note_43" href="#noteref_43">43.</a></dt><dd class="tei tei-notetext">For the influence of the masque on Massinger, <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, +II., 2; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, V., 3; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_44" name="note_44" href="#noteref_44">44.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> the characters of Simonides in <span class="tei tei-hi"><span style="font-style: italic">The Old Law</span></span> and +young Novall in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>, II., 2; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, +I., 2, 21; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 29-36; <span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, III., 1, 131-2. +Compare also <span class="tei tei-hi"><span style="font-style: italic">Henry VIII.</span></span>, I., 3.</dd><dt class="tei tei-notelabel"><a id="note_45" name="note_45" href="#noteref_45">45.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, III., 1, 57; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 1, 81. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Merchant +of Venice</span></span>, I., 2, 78-81; <span class="tei tei-hi"><span style="font-style: italic">As You Like It</span></span>, IV., 1, 34-40.</dd><dt class="tei tei-notelabel"><a id="note_46" name="note_46" href="#noteref_46">46.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">The play ends thus: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Make you good<br /> +Your promised reformation, and instruct<br /> +Our city dames, whom wealth makes proud, to move<br /> +In their own spheres, and willingly to confess,<br /> +In their habits, manners, and their highest port,<br /> +A distance 'twixt the city and the court. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, III., 1, 84; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, III., 2, +153; IV., 4, 43; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, II., 1, 81 and 88. In <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, +I., 2, distinctions are drawn between the county ladies, the city +dames, and the court ladies of England. Compare also +the epilogue to <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Others, to hear the city<br /> +Abused extremely, and to cry <span class="tei tei-q">“that's witty.”</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Rape of Lucrece</span></span>, II., 1; II., 3; <span class="tei tei-hi"><span style="font-style: italic">The Devil is an Ass</span></span>, III., 1; +<span class="tei tei-hi"><span style="font-style: italic">Westward Ho!</span></span> I., 1; <span class="tei tei-q">“I tell thee, there is equality enough +between a lady and a city dame if their hair be but of a +colour.”</span> Ford contrasts the ladies of the city and the court +in <span class="tei tei-hi"><span style="font-style: italic">The Broken Heart</span></span>, II., 1. In Dekker's <span class="tei tei-hi"><span style="font-style: italic">Shoemaker's Holiday</span></span>, +I., 1, the Lord Mayor says: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Too mean is my poor girl for his high birth,<br /> +Poor citizens must not with courtiers wed. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">A Chaste Maid in Cheapside</span></span>, I., 1: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Maudlin.</span></span> Besides, you have a presence, sweet Sir Walter,<br /> +Able to dance a maid brought up in the city;<br /> +A brave court-spirit makes our virgins quiver. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Eastward Ho!</span></span> deals with the same contrast. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also the +Induction to <span class="tei tei-hi"><span style="font-style: italic">The Knight of the Burning Pestle</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">ib.</span></span>, IV., 5; +Induction to <span class="tei tei-hi"><span style="font-style: italic">Four Plays in One</span></span>.</p></dd><dt class="tei tei-notelabel"><a id="note_47" name="note_47" href="#noteref_47">47.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, I., 3, 92-94; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, I., 2, 34. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Henry +VIII.</span></span>, V., 4; <span class="tei tei-hi"><span style="font-style: italic">Shoemaker's Holiday</span></span>, V., 2; <span class="tei tei-hi"><span style="font-style: italic">The Honest Whore</span></span>, +Pt. I., III., 1; <span class="tei tei-hi"><span style="font-style: italic">Sir Thomas More</span></span>, II., 1.</dd><dt class="tei tei-notelabel"><a id="note_48" name="note_48" href="#noteref_48">48.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, IV., 5, 12; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, II., 1, 142. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Epicoene</span></span>, V., 1 <span class="tei tei-hi"><span style="font-style: italic">bis</span></span>; <span class="tei tei-hi"><span style="font-style: italic">Elder Brother</span></span>, IV., 3; <span class="tei tei-hi"><span style="font-style: italic">Honest Man's +Fortune</span></span>, V., 3; <span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret</span></span>, II., 3.</dd><dt class="tei tei-notelabel"><a id="note_49" name="note_49" href="#noteref_49">49.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, III., 3, 35; IV., 2, 35; <span class="tei tei-hi"><span style="font-style: italic">Parliament of +Love</span></span>, IV., 5, 125, 126; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, V., 3, 245-252; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, +III., 3, 8; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, IV., 1, 74; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, III., 2, +18. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">1 Henry IV.</span></span>, II., 2, 49; III., 1, 130; <span class="tei tei-hi"><span style="font-style: italic">2 Henry IV.</span></span>, IV., +3, 52-54; <span class="tei tei-hi"><span style="font-style: italic">Winter's Tale</span></span>, IV., 3, 181-263; V., 2, 25-27; <span class="tei tei-hi"><span style="font-style: italic">Antony +and Cleopatra</span></span>, V., 2, 215; <span class="tei tei-hi"><span style="font-style: italic">Queen of Corinth</span></span>, III., 1; <span class="tei tei-hi"><span style="font-style: italic">Spanish +Curate</span></span>, IV., 7; <span class="tei tei-hi"><span style="font-style: italic">False One</span></span>, I., 1; <span class="tei tei-hi"><span style="font-style: italic">Elder Brother</span></span>, IV., 4; <span class="tei tei-hi"><span style="font-style: italic">The +White Devil</span></span>, p. 23b; <span class="tei tei-hi"><span style="font-style: italic">The Devil's Law-case</span></span>, pp. 131<span class="tei tei-hi"><span style="font-style: italic">b</span></span> and 143<span class="tei tei-hi"><span style="font-style: italic">b</span></span>; +<span class="tei tei-hi"><span style="font-style: italic">Love's Sacrifice</span></span>, III., 1; IV., 1; <span class="tei tei-hi"><span style="font-style: italic">The Honest Whore</span></span>, Pt. I, I., 1; +<span class="tei tei-hi"><span style="font-style: italic">Bartholomew Fair</span></span>, Induction; II., 1; and III., 1; <span class="tei tei-hi"><span style="font-style: italic">Rape of +Lucrece</span></span>, II., 1; <span class="tei tei-hi"><span style="font-style: italic">Edward II.</span></span>, II., 2; <span class="tei tei-hi"><span style="font-style: italic">Orlando Furioso</span></span>, IV., 1; +<span class="tei tei-hi"><span style="font-style: italic">George a Greene</span></span>, IV., 2; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Bees</span></span>, ch. v.</dd><dt class="tei tei-notelabel"><a id="note_50" name="note_50" href="#noteref_50">50.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, II., 4, 1. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Much Ado about Nothing</span></span>, V.,1, 295-297; +<span class="tei tei-hi"><span style="font-style: italic">A King and No King</span></span>, I., 2; IV., 2; <span class="tei tei-hi"><span style="font-style: italic">Four Plays in One</span></span>; +<span class="tei tei-hi"><span style="font-style: italic">Triumph of Love</span></span>, 4; <span class="tei tei-hi"><span style="font-style: italic">Little French Lawyer</span></span>, III., 2; <span class="tei tei-hi"><span style="font-style: italic">The False +One</span></span>, III., 2; IV., 3; <span class="tei tei-hi"><span style="font-style: italic">Lover's Progress</span></span>, I., 1; III., 4; V., 3; +<span class="tei tei-hi"><span style="font-style: italic">Cupid's Revenge</span></span>, II., 4; <span class="tei tei-hi"><span style="font-style: italic">James IV.</span></span>, 1, 2.</dd><dt class="tei tei-notelabel"><a id="note_51" name="note_51" href="#noteref_51">51.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, especially II., 1; for the difficulty of getting +justice done for the poor, <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1; <span class="tei tei-hi"><span style="font-style: italic">Fatal +Dowry</span></span>, I., 1, especially lines 67-80.</dd><dt class="tei tei-notelabel"><a id="note_52" name="note_52" href="#noteref_52">52.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">II.; 4, 79-106. The reference to the mills is as follows: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Builders of iron mills, that grub up forests<br /> +With timber trees for shipping. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Volpone</span></span>, I., 1, 33-36.</p></dd><dt class="tei tei-notelabel"><a id="note_53" name="note_53" href="#noteref_53">53.</a></dt><dd class="tei tei-notetext">I., 1, 290-340.</dd><dt class="tei tei-notelabel"><a id="note_54" name="note_54" href="#noteref_54">54.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E.g.</span></span>, in <span class="tei tei-hi"><span style="font-style: italic">The New Way</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_55" name="note_55" href="#noteref_55">55.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">City Madam.</span></span></dd><dt class="tei tei-notelabel"><a id="note_56" name="note_56" href="#noteref_56">56.</a></dt><dd class="tei tei-notetext">Thus Ford, in an interesting passage in <span class="tei tei-hi"><span style="font-style: italic">Love's Sacrifice</span></span>, +I., 1, refers to the national love of self-depreciation among the +English. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Rape of Lucrece</span></span>, III., 5.</dd><dt class="tei tei-notelabel"><a id="note_57" name="note_57" href="#noteref_57">57.</a></dt><dd class="tei tei-notetext">I., 2, 22-49. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, III., 1, 133-135; +and Webster's <span class="tei tei-hi"><span style="font-style: italic">Westward Ho!</span></span> I., 1, and III., 3.</dd><dt class="tei tei-notelabel"><a id="note_58" name="note_58" href="#noteref_58">58.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Honest Whore</span></span>, Pt. II., IV., 1: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Matheo.</span></span> England is the only hell for horses, and only +paradise for women. Also Lamira's words in <span class="tei tei-hi"><span style="font-style: italic">The Honest +Man's Fortune</span></span>, III., 3.</p></dd><dt class="tei tei-notelabel"><a id="note_59" name="note_59" href="#noteref_59">59.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>. The Duke +of <span class="tei tei-q">“Pavy”</span> in Ford's <span class="tei tei-hi"><span style="font-style: italic">Love's Sacrifice</span></span> is a slighter sketch of +the same type. The worthlessness of Bianca in the same +play is a measure of the moral gap between Massinger and +Ford.</dd><dt class="tei tei-notelabel"><a id="note_60" name="note_60" href="#noteref_60">60.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, IV., 2, 116-143.</dd><dt class="tei tei-notelabel"><a id="note_61" name="note_61" href="#noteref_61">61.</a></dt><dd class="tei tei-notetext">Oxford Lectures on Poetry, pp. 363-365. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also pp. +392-3.</dd><dt class="tei tei-notelabel"><a id="note_62" name="note_62" href="#noteref_62">62.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> op. cit., p. 381. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Prologue to <span class="tei tei-hi"><span style="font-style: italic">Henry VIII.</span></span>, line 13; +Prologue to <span class="tei tei-hi"><span style="font-style: italic">Romeo and Juliet</span></span>, line 12, and Chorus to Act I. +in <span class="tei tei-hi"><span style="font-style: italic">The Mayor of Queensborough</span></span>. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +If all my powers<br /> +Can win the grace of two poor hours,<br /> +Well apaid I go to rest. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Also Prologues to <span class="tei tei-hi"><span style="font-style: italic">Two Noble Kinsmen</span></span>, lines 28, 29; <span class="tei tei-hi"><span style="font-style: italic">Alchemist</span></span>, +line 1; <span class="tei tei-hi"><span style="font-style: italic">Love's Pilgrimage</span></span>, line 8; <span class="tei tei-hi"><span style="font-style: italic">Lover's Progress</span></span>, line 18 +(<span class="tei tei-q">“<span class="tei tei-hi"><span style="font-style: italic">three</span></span> short hours”</span>); and Shirley's Preface to the Folio of +Beaumont and Fletcher.</p></dd><dt class="tei tei-notelabel"><a id="note_63" name="note_63" href="#noteref_63">63.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Malone's <span class="tei tei-hi"><span style="font-style: italic">Shakspere</span></span> (edition 1790), vol. i., pt. 2, p. 226. +<span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span> probably represents an adaptation of this +play, with classical names and setting substituted for the +original plot. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <a href="#Appendix_VII" class="tei tei-ref">Appendix VII</a>.</dd><dt class="tei tei-notelabel"><a id="note_64" name="note_64" href="#noteref_64">64.</a></dt><dd class="tei tei-notetext">Chapman had to suppress a considerable part of <span class="tei tei-hi"><span style="font-style: italic">The +Tragedy of Byron</span></span>, which referred to quite recent events in +France. But the censorship seems to have become much +more stringent in Massinger's days.</dd><dt class="tei tei-notelabel"><a id="note_65" name="note_65" href="#noteref_65">65.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The King and the Subject</span></span>; now lost. The play was performed, +after alterations had been made, under another title. +Sir H. Herbert wrote, <span class="tei tei-q">“Received of Mr. Lowen's for my paines +about Massinger's play called <span class="tei tei-hi"><span style="font-style: italic">The King and the Subject</span></span>, 2nd +June, 1638, £1.”</span></dd><dt class="tei tei-notelabel"><a id="note_66" name="note_66" href="#noteref_66">66.</a></dt><dd class="tei tei-notetext">Malone's <span class="tei tei-hi"><span style="font-style: italic">Shakspere</span></span> (ed. 1790), vol. i., pt. 2, p. 235.</dd><dt class="tei tei-notelabel"><a id="note_67" name="note_67" href="#noteref_67">67.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 3.</dd><dt class="tei tei-notelabel"><a id="note_68" name="note_68" href="#noteref_68">68.</a></dt><dd class="tei tei-notetext">I., 1, 49-56. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, I., 1, 75-84. +Sanazarro is one of the better type of favourites.</dd><dt class="tei tei-notelabel"><a id="note_69" name="note_69" href="#noteref_69">69.</a></dt><dd class="tei tei-notetext">I., 1, 23-36.</dd><dt class="tei tei-notelabel"><a id="note_70" name="note_70" href="#noteref_70">70.</a></dt><dd class="tei tei-notetext">III., 1, 10-17.</dd><dt class="tei tei-notelabel"><a id="note_71" name="note_71" href="#noteref_71">71.</a></dt><dd class="tei tei-notetext">III., 3, 135.</dd><dt class="tei tei-notelabel"><a id="note_72" name="note_72" href="#noteref_72">72.</a></dt><dd class="tei tei-notetext">IV., 5, 52. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, I., 1, 73-84.</dd><dt class="tei tei-notelabel"><a id="note_73" name="note_73" href="#noteref_73">73.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> especially the offer made by the Informer to Paulinus, +I., 2, 69-89.</dd><dt class="tei tei-notelabel"><a id="note_74" name="note_74" href="#noteref_74">74.</a></dt><dd class="tei tei-notetext">1st quarto, <span class="tei tei-q">“pole.”</span></dd><dt class="tei tei-notelabel"><a id="note_75" name="note_75" href="#noteref_75">75.</a></dt><dd class="tei tei-notetext">I., 2, 236-257.</dd><dt class="tei tei-notelabel"><a id="note_76" name="note_76" href="#noteref_76">76.</a></dt><dd class="tei tei-notetext">IV., 1, 136-147.</dd><dt class="tei tei-notelabel"><a id="note_77" name="note_77" href="#noteref_77">77.</a></dt><dd class="tei tei-notetext">I., 1, 220-233.</dd><dt class="tei tei-notelabel"><a id="note_78" name="note_78" href="#noteref_78">78.</a></dt><dd class="tei tei-notetext">Middleton refers to <span class="tei tei-q">“the great Armada”</span> in <span class="tei tei-hi"><span style="font-style: italic">A Trick to +Catch the Old One</span></span>, III., 4; Dampit: <span class="tei tei-q">“In Anno '88, when the +great Armada was coming.”</span> <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Alchemist</span></span>, IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_79" name="note_79" href="#noteref_79">79.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Champernal in <span class="tei tei-hi"><span style="font-style: italic">The Little French Lawyer</span></span>, and Alberto +in <span class="tei tei-hi"><span style="font-style: italic">The Fair Maid of the Inn</span></span>. Notice too the zest with which +Valerio (<span class="tei tei-hi"><span style="font-style: italic">A Wife for a Month</span></span>, V., 3) describes the sea-action +with the Turks.</dd><dt class="tei tei-notelabel"><a id="note_80" name="note_80" href="#noteref_80">80.</a></dt><dd class="tei tei-notetext">The question whether Massinger knew Greek is discussed +in <a href="#Appendix_II" class="tei tei-ref">Appendix II</a>. To take one play only, <span class="tei tei-hi"><span style="font-style: italic">The Maid of +Honour</span></span>, we find classical allusions in I., 1, 240; I., 2, 36, 107-128; +II., 1, 48; II., 2, 23; II., 3, 26; II., 4, 17; II., 5, 13, +28; III., I, 29; III., I, 194; IV., 4, 13; IV., 4, 97, 108, 109; +IV., 4, 140-145.</dd><dt class="tei tei-notelabel"><a id="note_81" name="note_81" href="#noteref_81">81.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, xxvi., p. 581.</dd><dt class="tei tei-notelabel"><a id="note_82" name="note_82" href="#noteref_82">82.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Englische Studien</span></span>, V., 93.</dd><dt class="tei tei-notelabel"><a id="note_83" name="note_83" href="#noteref_83">83.</a></dt><dd class="tei tei-notetext">I., 2, 27.</dd><dt class="tei tei-notelabel"><a id="note_84" name="note_84" href="#noteref_84">84.</a></dt><dd class="tei tei-notetext">Also called <span class="tei tei-hi"><span style="font-style: italic">The Prince of Tarent</span></span>. It would have been +easier for Fletcher to imitate Massinger than for Massinger to +imitate Fletcher. The pathos and comedy of the latter were +alike out of our author's range.</dd><dt class="tei tei-notelabel"><a id="note_85" name="note_85" href="#noteref_85">85.</a></dt><dd class="tei tei-notetext">III., 1, 39.</dd><dt class="tei tei-notelabel"><a id="note_86" name="note_86" href="#noteref_86">86.</a></dt><dd class="tei tei-notetext">See discussion on p. <a href="#Pg141" class="tei tei-ref">141</a>.</dd><dt class="tei tei-notelabel"><a id="note_87" name="note_87" href="#noteref_87">87.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <a href="#Appendix_III" class="tei tei-ref">Appendix III</a>.</dd><dt class="tei tei-notelabel"><a id="note_88" name="note_88" href="#noteref_88">88.</a></dt><dd class="tei tei-notetext">The question suggests itself at once: Did Massinger ever +collaborate with Beaumont? Mr. Macaulay does not face +this problem in his interesting monograph on Beaumont; +indeed, he ignores Massinger's undoubted claims to have +collaborated with Fletcher, though he makes full amends for +this omission in his article in the <span class="tei tei-hi"><span style="font-style: italic">Cambridge History of English +Literature</span></span>. Boyle at one time thought that Massinger worked +with Beaumont and Fletcher in <span class="tei tei-hi"><span style="font-style: italic">The Honest Man's Fortune</span></span> +and <span class="tei tei-hi"><span style="font-style: italic">The Knight of Malta</span></span> (<span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, pp. 589-590).</dd><dt class="tei tei-notelabel"><a id="note_89" name="note_89" href="#noteref_89">89.</a></dt><dd class="tei tei-notetext">From the nature of the case the idea is not new; thus +Weber, in the Preface to the 1812 Edinburgh edition of +Beaumont and Fletcher, attributes the completion of <span class="tei tei-hi"><span style="font-style: italic">The +Lover's Progress</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Love's Pilgrimage</span></span>, and the character of +Septimius in <span class="tei tei-hi"><span style="font-style: italic">The False One</span></span> to Massinger. Fleay (<span class="tei tei-hi"><span style="font-style: italic">Shakespeare +Manual</span></span>, p. 152) makes out a list of ten of Fletcher's plays in +which he traces Massinger's hand. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <a href="#Appendix_III" class="tei tei-ref">Appendix III</a>.</dd><dt class="tei tei-notelabel"><a id="note_90" name="note_90" href="#noteref_90">90.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Eng. St.</span></span>, VII., 75.</dd><dt class="tei tei-notelabel"><a id="note_91" name="note_91" href="#noteref_91">91.</a></dt><dd class="tei tei-notetext">Reprinted 1877. Congleton. A copy of the original book +is to be seen at Shakspere's birthhouse, Stratford-on-Avon.</dd><dt class="tei tei-notelabel"><a id="note_92" name="note_92" href="#noteref_92">92.</a></dt><dd class="tei tei-notetext">An inauspicious date for such a publication!</dd><dt class="tei tei-notelabel"><a id="note_93" name="note_93" href="#noteref_93">93.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">There are many touches in <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> which remind +one of Massinger; and not a few passages in Massinger remind +one of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>. Take as an example <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, III., +2, 111. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Luke.</span></span> O my lord!<br /> +This heap of wealth, which you possess me of,<br /> +Which to a worldly man had been a blessing,<br /> +And to the messenger might with justice challenge<br /> +A kind of adoration, is to me<br /> +A curse I cannot thank you for; and, much less<br /> +Rejoice in that tranquillity of mind<br /> +My brother's vows must purchase. I have made<br /> +A dear exchange with him: he now enjoys<br /> +My peace and poverty, the trouble of<br /> +His wealth conferr'd on me; and that a burthen<br /> +Too heavy for my weak shoulders. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Lord Lacy.</span></span> Honest Soul,<br /> +With what feeling he receives it! +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Or this from <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, IV., 2, 87. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Alonso.</span></span> She cause, alas!<br /> +Her innocence knew no guilt, but too much favour.<br /> +To me unworthy of it; 'twas my baseness,<br /> +My foul ingratitude—what shall I say more?<br /> +The good Octavio no sooner fell<br /> +In the displeasure of his prince, his state<br /> +Confiscated, and he forced to leave the Court,<br /> +And she exposed to want; but all my oaths<br /> +And protestation of service to her,<br /> +Like seeming flames, raised by enchantment, vanish'd;<br /> +This, this sits heavy here. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, I., 2,126-134. I feel inclined to say that +Massinger knew <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> by heart. <span class="tei tei-hi"><span style="font-style: italic">Cf. infra</span></span>, pp. 84, 85.</p></dd><dt class="tei tei-notelabel"><a id="note_94" name="note_94" href="#noteref_94">94.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span> is a remarkable play, full of fine +poetry and lofty thought. On the other hand, its technique +is very immature. The Gaoler's daughter's soliloquies are +inartistic, and at times ludicrous. The play has at once the +dignity of an early period and the complexity of style with +which we are familiar in Shakspere's later manner. One +thing is clear: Act I. is by a different hand from the rest. +Perhaps Shakspere and Fletcher touched up an old anonymous +play. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +See, however, discussion <span class="tei tei-hi"><span style="font-style: italic">infra</span></span>, pp. <a href="#Pg084" class="tei tei-ref">84-104</a>.</p></dd><dt class="tei tei-notelabel"><a id="note_95" name="note_95" href="#noteref_95">95.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <a href="#Appendix_V" class="tei tei-ref">Appendix V</a>.</dd><dt class="tei tei-notelabel"><a id="note_96" name="note_96" href="#noteref_96">96.</a></dt><dd class="tei tei-notetext">Mr. Halliwell Philipps, in his MS. note to <span class="tei tei-hi"><span style="font-style: italic">Believe as You +List</span></span>, now in the British Museum, expresses himself as sceptical +of the Warburton legend. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Greg's <span class="tei tei-hi"><span style="font-style: italic">Bakings of Betsy</span></span> +(<span class="tei tei-hi"><span style="font-style: italic">Library</span></span>, July, 1911).</dd><dt class="tei tei-notelabel"><a id="note_97" name="note_97" href="#noteref_97">97.</a></dt><dd class="tei tei-notetext">Shakspere, III., p. 275. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Downes' <span class="tei tei-hi"><span style="font-style: italic">Roscius Anglicanus</span></span>, +pp. 18, 52.</dd><dt class="tei tei-notelabel"><a id="note_98" name="note_98" href="#noteref_98">98.</a></dt><dd class="tei tei-notetext">Diary, 1848 edition, I., p. 192; IV., p. 373.</dd><dt class="tei tei-notelabel"><a id="note_99" name="note_99" href="#noteref_99">99.</a></dt><dd class="tei tei-notetext">Gayley's <span class="tei tei-hi"><span style="font-style: italic">Representative English Comedies</span></span>, p. 319.</dd><dt class="tei tei-notelabel"><a id="note_100" name="note_100" href="#noteref_100">100.</a></dt><dd class="tei tei-notetext">Gifford's edition of Massinger, in four volumes, is one of +the classics of our literature, though careless in details.</dd><dt class="tei tei-notelabel"><a id="note_101" name="note_101" href="#noteref_101">101.</a></dt><dd class="tei tei-notetext">To Hazlitt, however, we owe, in his estimate of Sir Giles +Overreach, one of the most brilliant pieces of English prose +that we possess.</dd><dt class="tei tei-notelabel"><a id="note_102" name="note_102" href="#noteref_102">102.</a></dt><dd class="tei tei-notetext">(<span class="tei tei-hi"><span style="font-style: italic">E. D. L.</span></span>, iii., p. 42) <span class="tei tei-q">“In Massinger we seem to recognize +a man who firmly believes in the eternal difference between +right and wrong, and never consciously swerves aside from +the canon he acknowledges.”</span></dd><dt class="tei tei-notelabel"><a id="note_103" name="note_103" href="#noteref_103">103.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, xxvi., p. 586.</dd><dt class="tei tei-notelabel"><a id="note_104" name="note_104" href="#noteref_104">104.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Iphigenia auf Tauris</span></span>, IV., 4: <span class="tei tei-q">“Ich untersuche nicht, ich +fühle nur.”</span></dd><dt class="tei tei-notelabel"><a id="note_105" name="note_105" href="#noteref_105">105.</a></dt><dd class="tei tei-notetext">Dr. Bradley (<span class="tei tei-hi"><span style="font-style: italic">Oxford Lectures</span></span>, p. 383) points out that +<span class="tei tei-q">“the average play of Shakspere's day has great merits of a +strictly dramatic kind, but it is not <span class="tei tei-q">‘well-built,’</span> it is not +what we mean by <span class="tei tei-q">‘a good play.’</span> ”</span> He traces this fault to +the multiplication of scenes, which the absence of scenery in +those days made easy.</dd><dt class="tei tei-notelabel"><a id="note_106" name="note_106" href="#noteref_106">106.</a></dt><dd class="tei tei-notetext">Gayley points out (<span class="tei tei-hi"><span style="font-style: italic">R. E. C.</span></span>, p. xci.) that, <span class="tei tei-q">“Shakspere and +Fletcher excepted, Massinger has been adjudged by posterity +the most successful of the practical dramatists of the early +seventeenth century.”</span> He suggests (<span class="tei tei-hi"><span style="font-style: italic">R. E. C.</span></span>, p. xcv.) that +with slight and judicious modification an enterprising actor-manager +might successfully produce <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Maid +of Honour</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>, and perhaps <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_107" name="note_107" href="#noteref_107">107.</a></dt><dd class="tei tei-notetext">Aristotle, <span class="tei tei-hi"><span style="font-style: italic">Rhetoric</span></span>, III., p. 1404<span class="tei tei-hi"><span style="font-style: italic">b</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_108" name="note_108" href="#noteref_108">108.</a></dt><dd class="tei tei-notetext">IV., 2. On the other hand, we should remember that +our author did not invent this incident, but took it from +Byzantine history. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Gibbon's <span class="tei tei-hi"><span style="font-style: italic">Decline and Fall</span></span>, chapter +xxxii.</dd><dt class="tei tei-notelabel"><a id="note_109" name="note_109" href="#noteref_109">109.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, II., 1, 187. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> ὁ ἄφωνος in Ar. <span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span>, +1460 a. 32.</dd><dt class="tei tei-notelabel"><a id="note_110" name="note_110" href="#noteref_110">110.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Sea Voyage</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Double Marriage</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_111" name="note_111" href="#noteref_111">111.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, III., 2, 71; <span class="tei tei-hi"><span style="font-style: italic">Virgin Martyr</span></span>, V., 2, 206. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Dr. Bradley's remarks (<span class="tei tei-hi"><span style="font-style: italic">Oxford Lectures</span></span>, p. 366, note) on +the blinding of Gloucester in <span class="tei tei-hi"><span style="font-style: italic">King Lear</span></span>. When the Duke +in Ford's <span class="tei tei-hi"><span style="font-style: italic">Love's Sacrifice</span></span> (V., 3) stabs himself and cries aloud: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Sprightful flood,<br /> +Run out in rivers! O, that these thick streams<br /> +Could gather head, and make a standing pool,<br /> +That jealous husbands here might bathe in blood; +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +the words can only produce an anticlimax in the spectator's +mind, however effective they may be to the reader. Massinger +is more dexterous in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>, IV., 4, 154: <span class="tei tei-q">“Yes, sir; +this is her heart's blood, is it not? I think it be.”</span> There is a +similar difficulty about D'Amville in <span class="tei tei-hi"><span style="font-style: italic">The Atheist's Tragedy</span></span> +(V., 2) knocking out his brains with the executioner's axe; and +about Scaevola in <span class="tei tei-hi"><span style="font-style: italic">The Rape of Lucrece</span></span> (V. 4) burning off his +hand. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Bajazet and Zabina in <span class="tei tei-hi"><span style="font-style: italic">Tamburlaine</span></span>, Pt. I., +V., 1, and Tamburlaine himself in Pt. II., III., 2.</p></dd><dt class="tei tei-notelabel"><a id="note_112" name="note_112" href="#noteref_112">112.</a></dt><dd class="tei tei-notetext">Needless to say, the idea is not original; it is already a +marked feature of Marlowe's <span class="tei tei-hi"><span style="font-style: italic">Tamburlaine</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Faustus</span></span>; but +the device does not often work so smoothly as in Massinger.</dd><dt class="tei tei-notelabel"><a id="note_113" name="note_113" href="#noteref_113">113.</a></dt><dd class="tei tei-notetext">II., 2, 59-77. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, I., 1 (the three +kings); <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, II., 1 (Theodosius and his courtiers); +<span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., 3, 43 (the servants); <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, +IV., 1 (Luke and the three creditors); IV., 2 (Luke and the two +apprentices); <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, I., 1 (Matilda and the waiting-women); +V., 1 (Octavio and three friends); <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., +3 (Timoleon and four senators); <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, II., 2 +(Theocrine and three attendants); <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, I., 2 +(three councillors); II., 2; V., 2 and 3 (Cozimo and courtiers); +<span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, IV., 4 (Severino and four banditti); <span class="tei tei-hi"><span style="font-style: italic">Maid of +Honour</span></span>, I., 1 (Bertoldo and the two heirs <span class="tei tei-q">“city bred”</span>); +<span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, IV., 1, 98; V., 1, 213 (the three tribunes); V. 2, +1-19 (the conspirators); <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span> I., 3, <span class="tei tei-hi"><span style="font-style: italic">ad init.</span></span> +(three gentlemen). We find this method again and again in +Webster; <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Duchess of Malfi</span></span>, p. 63<span class="tei tei-hi"><span style="font-style: italic">a</span></span>; p. 78<span class="tei tei-hi"><span style="font-style: italic">b</span></span>; p. 80<span class="tei tei-hi"><span style="font-style: italic">b</span></span>; +<span class="tei tei-hi"><span style="font-style: italic">The White Devil</span></span>, p. 56; p. 42<span class="tei tei-hi"><span style="font-style: italic">a</span></span>; <span class="tei tei-hi"><span style="font-style: italic">The Devil's Law-case</span></span>, p. 111<span class="tei tei-hi"><span style="font-style: italic">b</span></span>; +p. 116<span class="tei tei-hi"><span style="font-style: italic">a</span></span>. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Cymbal and Fitton in <span class="tei tei-hi"><span style="font-style: italic">The Staple of News</span></span>, +I., 2; and the three courtiers in <span class="tei tei-hi"><span style="font-style: italic">Cupid's Revenge</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_114" name="note_114" href="#noteref_114">114.</a></dt><dd class="tei tei-notetext">The exact cause of the son's anger is the murder of his +mother by his father. The secret is not revealed until +Act V., 2, 122, though it is hinted at in II., 1, 118-120. The +son knows nothing of the other terrible charge.</dd><dt class="tei tei-notelabel"><a id="note_115" name="note_115" href="#noteref_115">115.</a></dt><dd class="tei tei-notetext">In <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span> the brother and sister are not revealed +until V., 4.</dd><dt class="tei tei-notelabel"><a id="note_116" name="note_116" href="#noteref_116">116.</a></dt><dd class="tei tei-notetext">IV., 3.</dd><dt class="tei tei-notelabel"><a id="note_117" name="note_117" href="#noteref_117">117.</a></dt><dd class="tei tei-notetext">I., 1.</dd><dt class="tei tei-notelabel"><a id="note_118" name="note_118" href="#noteref_118">118.</a></dt><dd class="tei tei-notetext">The best instance of Euripidean art is the scene in <span class="tei tei-hi"><span style="font-style: italic">The +Emperor of the East</span></span> (II., 1), where all the arguments for the +Emperor's speedy marriage are cleverly amassed. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also +Luke's appeal for mercy to the creditors in <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span>, +I., 3; the long preparation which Sforza makes in <span class="tei tei-hi"><span style="font-style: italic">The Duke +of Milan</span></span>, I., 3, 268; the skill which leads up to the disclosure +of Marullo's name in <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span> (IV., 3, 124), and the way +in which he persuades the slaves to revolt (II., 3). For other +instances of what we may call the gradual method, compare +<span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, I., 1, 294, and <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, V., 4, 91.</dd><dt class="tei tei-notelabel"><a id="note_119" name="note_119" href="#noteref_119">119.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, I., 2; IV., 4; V., 2; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 3; +<span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 3; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, V., 1; <span class="tei tei-hi"><span style="font-style: italic">Great Duke of +Florence</span></span>, V., 3.</dd><dt class="tei tei-notelabel"><a id="note_120" name="note_120" href="#noteref_120">120.</a></dt><dd class="tei tei-notetext">Here he incurs the censure of Milton on such plays +(Preface to <span class="tei tei-hi"><span style="font-style: italic">Samson Agonistes</span></span>): <span class="tei tei-q">“This is mentioned to vindicate +tragedy from the small esteem, or rather infamy, which +in the account of many it undergoes at this day with other +common interludes; happening through the poet's error of +intertwining comic stuff with tragic sadness and gravity; or +introducing trivial and vulgar persons, which by all judicious +hath been counted absurd, and brought in without discretion, +corruptly to gratify the people!”</span></dd><dt class="tei tei-notelabel"><a id="note_121" name="note_121" href="#noteref_121">121.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Shakspere's <span class="tei tei-hi"><span style="font-style: italic">Julius Caesar</span></span>, where the hero dies in the +third act; but the plot is not felt to have exhausted itself +until Brutus and Cassius are disposed of.</dd><dt class="tei tei-notelabel"><a id="note_122" name="note_122" href="#noteref_122">122.</a></dt><dd class="tei tei-notetext">Massinger is very sparing in his use of prose in his plays, +though Fleay goes too far when he says: <span class="tei tei-q">“Neither Fletcher +nor Massinger admits prose”</span> (<span class="tei tei-hi"><span style="font-style: italic">Shakespeare Manual</span></span>, p. 71). +The grace of Massinger's dedications is very marked when +compared with the stilted and obscure style of Ford's.</dd><dt class="tei tei-notelabel"><a id="note_123" name="note_123" href="#noteref_123">123.</a></dt><dd class="tei tei-notetext">C. Lamb.</dd><dt class="tei tei-notelabel"><a id="note_124" name="note_124" href="#noteref_124">124.</a></dt><dd class="tei tei-notetext">Lines referring to Massinger quoted by Langbaine.</dd><dt class="tei tei-notelabel"><a id="note_125" name="note_125" href="#noteref_125">125.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, IV., 2, 51-88.</dd><dt class="tei tei-notelabel"><a id="note_126" name="note_126" href="#noteref_126">126.</a></dt><dd class="tei tei-notetext">I., 2, 147.</dd><dt class="tei tei-notelabel"><a id="note_127" name="note_127" href="#noteref_127">127.</a></dt><dd class="tei tei-notetext">I., 3, 268-30 6.</dd><dt class="tei tei-notelabel"><a id="note_128" name="note_128" href="#noteref_128">128.</a></dt><dd class="tei tei-notetext">I., 3, 49-142.</dd><dt class="tei tei-notelabel"><a id="note_129" name="note_129" href="#noteref_129">129.</a></dt><dd class="tei tei-notetext">II., 4, 22-35.</dd><dt class="tei tei-notelabel"><a id="note_130" name="note_130" href="#noteref_130">130.</a></dt><dd class="tei tei-notetext">I., 3, 51-74.</dd><dt class="tei tei-notelabel"><a id="note_131" name="note_131" href="#noteref_131">131.</a></dt><dd class="tei tei-notetext">IV., 3, 124-138.</dd><dt class="tei tei-notelabel"><a id="note_132" name="note_132" href="#noteref_132">132.</a></dt><dd class="tei tei-notetext">V., 1, 42-60.</dd><dt class="tei tei-notelabel"><a id="note_133" name="note_133" href="#noteref_133">133.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Prologue to <span class="tei tei-hi"><span style="font-style: italic">Henry V</span></span>, line 4, a passage imitated and +expanded in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, V., 2, 98-102.</dd><dt class="tei tei-notelabel"><a id="note_134" name="note_134" href="#noteref_134">134.</a></dt><dd class="tei tei-notetext">We have a Somersetshire rustic in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the +East</span></span>, IV., 2. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Schmidt's <span class="tei tei-hi"><span style="font-style: italic">Shakespeare Lexicon</span></span>, Appendix II., +p. 1424. <span class="tei tei-q">“In general it can be said that Shakspere abstains +from the use of provincial dialects, as characteristic of his +dramatical persons.... It is only on one occasion that he +seems to imitate the peculiar speech of a certain dialect: +<span class="tei tei-hi"><span style="font-style: italic">King Lear</span></span>, IV., 6, 239-251. Concerning the particular +county there referred to English scholars have been of different +opinions. Steevens pleads for Somersetshire, in the dialect of +which rustics were commonly introduced by ancient writers; +Collier inclines to decide in favour of the North.”</span> <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Mr. H. +Bradley's remarks in <span class="tei tei-hi"><span style="font-style: italic">Shakspere's England</span></span>, II., p. 570. In +<span class="tei tei-hi"><span style="font-style: italic">Bartholomew Fair</span></span>, IV., 3, a contrast is drawn between the +dialect of a rustic from the West and one from the North. +Urania's dialect in <span class="tei tei-hi"><span style="font-style: italic">Cupid's Revenge</span></span> cannot be pronounced a +success, or Antonio's Irish in <span class="tei tei-hi"><span style="font-style: italic">The Coxcomb</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_135" name="note_135" href="#noteref_135">135.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, II., 2, 128. Among the things which Anne +demands from her suitor, is: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A fresh habit,<br /> +Of a fashion never seen before, to draw<br /> +The gallants' eyes, that sit on the stage, upon me. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Induction to <span class="tei tei-hi"><span style="font-style: italic">The Malcontent</span></span>; Induction to <span class="tei tei-hi"><span style="font-style: italic">The +Staple of News</span></span>; Induction to <span class="tei tei-hi"><span style="font-style: italic">Cynthia's Revels</span></span>; Fitzdottrel +in <span class="tei tei-hi"><span style="font-style: italic">The Devil is an Ass</span></span>, I., 3; Induction to <span class="tei tei-hi"><span style="font-style: italic">Knight of the +Burning Pestle</span></span>; <span class="tei tei-hi"><span style="font-style: italic">Woman-Hater</span></span>, I., 3; Prologue to <span class="tei tei-hi"><span style="font-style: italic">All Fools</span></span>; +and Dekker's <span class="tei tei-hi"><span style="font-style: italic">The Guls Horne-booke</span></span>, Chapter VI.</p></dd><dt class="tei tei-notelabel"><a id="note_136" name="note_136" href="#noteref_136">136.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Hours in a Library</span></span>, ii., p. 171. Leslie Stephen elsewhere +(pp. 167-171) does justice to Massinger's <span class="tei tei-q">“romantic tendency.”</span> +<span class="tei tei-q">“The chivalrous ideal of morality involves a +reverence for women which may be exaggerated or affected, +but which has at least a genuine element in it. The same +vein of chivalrous sentiment gives a fine tone to some of +Massinger's other plays; to <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, for example, and +<span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>, in both of which the treatment +of lovers' devotion shows a higher sense of the virtue of +feminine dignity and purity than is common in the contemporary +stage.”</span></dd><dt class="tei tei-notelabel"><a id="note_137" name="note_137" href="#noteref_137">137.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, IV., 3, 72-92. <span class="tei tei-hi"><span style="font-style: italic">Cf. Believe As You +List</span></span>, IV., 2, 183-204.</dd><dt class="tei tei-notelabel"><a id="note_138" name="note_138" href="#noteref_138">138.</a></dt><dd class="tei tei-notetext">I., 1, 103-114. The whole play exhibits this element of +grace more than any other of our author. It should be +acted by Lysis and Charicles, Glaucon and Adeimantus.</dd><dt class="tei tei-notelabel"><a id="note_139" name="note_139" href="#noteref_139">139.</a></dt><dd class="tei tei-notetext">IV., 3, 175. It is to be noted that great courtesy is +observed and expected in greetings and leave-takings in +Massinger's plays. Thus in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, II., 2, +Macrinus gets into trouble for the curtness of his salutation; +similarly, Wellborn in <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, V., 1, 114. Compare also +<span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, IV., 1, 67; <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, I., l, 147.</dd><dt class="tei tei-notelabel"><a id="note_140" name="note_140" href="#noteref_140">140.</a></dt><dd class="tei tei-notetext">I., 1, 246.</dd><dt class="tei tei-notelabel"><a id="note_141" name="note_141" href="#noteref_141">141.</a></dt><dd class="tei tei-notetext">I., 2, 36.</dd><dt class="tei tei-notelabel"><a id="note_142" name="note_142" href="#noteref_142">142.</a></dt><dd class="tei tei-notetext">II., 2, 71.</dd><dt class="tei tei-notelabel"><a id="note_143" name="note_143" href="#noteref_143">143.</a></dt><dd class="tei tei-notetext">I., 1, 77.</dd><dt class="tei tei-notelabel"><a id="note_144" name="note_144" href="#noteref_144">144.</a></dt><dd class="tei tei-notetext">IV., 2, 96.</dd><dt class="tei tei-notelabel"><a id="note_145" name="note_145" href="#noteref_145">145.</a></dt><dd class="tei tei-notetext">III., 2, 92.</dd><dt class="tei tei-notelabel"><a id="note_146" name="note_146" href="#noteref_146">146.</a></dt><dd class="tei tei-notetext">V., 2, 51.</dd><dt class="tei tei-notelabel"><a id="note_147" name="note_147" href="#noteref_147">147.</a></dt><dd class="tei tei-notetext">I., 2, 162-175.</dd><dt class="tei tei-notelabel"><a id="note_148" name="note_148" href="#noteref_148">148.</a></dt><dd class="tei tei-notetext">II., 3, 28-32.</dd><dt class="tei tei-notelabel"><a id="note_149" name="note_149" href="#noteref_149">149.</a></dt><dd class="tei tei-notetext">I., 2, 136-141.</dd><dt class="tei tei-notelabel"><a id="note_150" name="note_150" href="#noteref_150">150.</a></dt><dd class="tei tei-notetext">IV., 2, 46.</dd><dt class="tei tei-notelabel"><a id="note_151" name="note_151" href="#noteref_151">151.</a></dt><dd class="tei tei-notetext">I., 2, 17.</dd><dt class="tei tei-notelabel"><a id="note_152" name="note_152" href="#noteref_152">152.</a></dt><dd class="tei tei-notetext">I., 5, 44. The longest series of parentheses in Massinger +is to be found in Cardenes' speech in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> (I., 1, +240-256). For clumsy periods see <span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, IV., 2, 99-104; +V., 2, 23-34; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, IV., 2, 123-128.</dd><dt class="tei tei-notelabel"><a id="note_153" name="note_153" href="#noteref_153">153.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Our Debt to Antiquity</span></span>, Eng. trans, by Strong and Stewart, +p. 75.</dd><dt class="tei tei-notelabel"><a id="note_154" name="note_154" href="#noteref_154">154.</a></dt><dd class="tei tei-notetext">It is needless to say how common this idiom is in Shakspere, +Webster, Shirley, and other authors of the period. I +only mention it because it lends itself in a peculiar way to the +suppleness of Massinger's style.</dd><dt class="tei tei-notelabel"><a id="note_155" name="note_155" href="#noteref_155">155.</a></dt><dd class="tei tei-notetext">I., 1, 18-32.</dd><dt class="tei tei-notelabel"><a id="note_156" name="note_156" href="#noteref_156">156.</a></dt><dd class="tei tei-notetext">I., 3, 339.</dd><dt class="tei tei-notelabel"><a id="note_157" name="note_157" href="#noteref_157">157.</a></dt><dd class="tei tei-notetext">V., 1, 25.</dd><dt class="tei tei-notelabel"><a id="note_158" name="note_158" href="#noteref_158">158.</a></dt><dd class="tei tei-notetext">III., 3, 4.</dd><dt class="tei tei-notelabel"><a id="note_159" name="note_159" href="#noteref_159">159.</a></dt><dd class="tei tei-notetext">V., 2, 22.</dd><dt class="tei tei-notelabel"><a id="note_160" name="note_160" href="#noteref_160">160.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Contemporaries of Shakespeare</span></span>, p. 183. Though I do +not accept all Mr. Swinburne's estimates, I am at once pleased +and humiliated at the thought that he has expressed so much +better than myself many of my conclusions about Massinger.</dd><dt class="tei tei-notelabel"><a id="note_161" name="note_161" href="#noteref_161">161.</a></dt><dd class="tei tei-notetext">V., 1, 51.</dd><dt class="tei tei-notelabel"><a id="note_162" name="note_162" href="#noteref_162">162.</a></dt><dd class="tei tei-notetext">III., 1, 302.</dd><dt class="tei tei-notelabel"><a id="note_163" name="note_163" href="#noteref_163">163.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, III., 1, 30-39.</dd><dt class="tei tei-notelabel"><a id="note_164" name="note_164" href="#noteref_164">164.</a></dt><dd class="tei tei-notetext">Oliphant (<span class="tei tei-hi"><span style="font-style: italic">Englische Studien</span></span>, xiv., 60) notes this feature as +Fletcherian.</dd><dt class="tei tei-notelabel"><a id="note_165" name="note_165" href="#noteref_165">165.</a></dt><dd class="tei tei-notetext">Boyle, <span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, Trans., p. 378.</dd><dt class="tei tei-notelabel"><a id="note_166" name="note_166" href="#noteref_166">166.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Op. cit.</span></span>, p. 403.</dd><dt class="tei tei-notelabel"><a id="note_167" name="note_167" href="#noteref_167">167.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E. S.</span></span>, vii. 70.</dd><dt class="tei tei-notelabel"><a id="note_168" name="note_168" href="#noteref_168">168.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, xxvi. 584. The <span class="tei tei-q">“run-on”</span> line ends with +a preposition or other word which syntactically requires the +next line. Take as an example <span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, V., 2, 255: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For the fact, as of<br /> +The former, I confess it; but with what<br /> +Base wrongs I was unwillingly drawn to it,<br /> +To my few words there are some other proofs<br /> +To witness this for truth. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The <span class="tei tei-q">“double”</span> or <span class="tei tei-q">“feminine”</span> ending is the outstanding +feature of Fletcher's verse. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, V., 2, 137: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Rochfort.</span></span> You say you are sorry for him;<br /> +A grief in which I must not have a partner.<br /> +'Tis I alone am sorry, that when I raised<br /> +The building of my life, for seventy years,<br /> +Upon so sure a ground, that all the vices<br /> +Practised to ruin man, though brought against me,<br /> +Could never undermine, and no way left<br /> +To send these grey hairs to the grave with sorrow,<br /> +Virtue, that was my patroness, betrayed me. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(Gifford inserts <span class="tei tei-q">“when”</span> in that third line.) +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Five instances in nine lines. Fleay (<span class="tei tei-hi"><span style="font-style: italic">Shakespeare Manual</span></span>, +p. 171) points out that in Shakspere's part of <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> +the proportion of double endings to blank verse is 1 to 3; +in Fletcher's, 1 to 1·7. The weak and sugary effect of +double endings is very apparent in Rowe's <span class="tei tei-hi"><span style="font-style: italic">Fair Penitent</span></span>, +the eighteenth-century play, based on <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Boyle (<span class="tei tei-hi"><span style="font-style: italic">E. S.</span></span>, v. 74) takes six of Massinger's plays: <span class="tei tei-hi"><span style="font-style: italic">The +Unnatural Combat</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Bondman</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The +City Madam</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, and <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span>. These +are his conclusions: <span class="tei tei-q">“The plays show in general a high percentage +of double endings, generally 40 per cent, or more. +The percentage of run-on lines is a little lower, but seldom +sinks for more than a scene below 30 per cent. The light and +weak endings together make 5 to 7 per cent. The versification +is exquisitely musical. There are very few rhymes.”</span> +The corresponding figures for Fletcher are: double endings, +over 50 per cent.; run-on lines, under 20 per cent.; and light +and weak endings almost negligible; rhyme, rare. Shakspere +in his later manner (e.g., <span class="tei tei-hi"><span style="font-style: italic">The Tempest</span></span>) has 33 per cent. +double endings. (<span class="tei tei-hi"><span style="font-style: italic">E. S.</span></span>, vi. 71.)</p></dd><dt class="tei tei-notelabel"><a id="note_169" name="note_169" href="#noteref_169">169.</a></dt><dd class="tei tei-notetext">Fleay (<span class="tei tei-hi"><span style="font-style: italic">Shakespeare Manual</span></span>, p. 123) takes a piece of +Dryden's <span class="tei tei-hi"><span style="font-style: italic">All for Love</span></span>, and rewrites it, as far as metre (and +metre only) is concerned, in the styles of Fletcher, Beaumont, +Massinger, Greene, and Rowley.</dd><dt class="tei tei-notelabel"><a id="note_170" name="note_170" href="#noteref_170">170.</a></dt><dd class="tei tei-notetext">IV., 3, 5-24.</dd><dt class="tei tei-notelabel"><a id="note_171" name="note_171" href="#noteref_171">171.</a></dt><dd class="tei tei-notetext">I., 2, 49-71.</dd><dt class="tei tei-notelabel"><a id="note_172" name="note_172" href="#noteref_172">172.</a></dt><dd class="tei tei-notetext">In this respect Massinger resembles Beaumont and Ford, +whose metre in divided lines, unlike Webster's and Fletcher's, +is very regular. Shirley's plays are full of lame lines. For strict +division <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, I., 3, 44; II., 1, 109; V., 1, 4 and 70; +V., 2, 66; V., 3, 126; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, 80, 221, 308; II., 3, +116; III., 2, 61; IV., 3, 16; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, I., 2, 48 and 63; +II., 2, 151; III., 2, 241; V., 1, 233; <span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, I., 1, 26 +and 147; V., 6, 31; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, I., 1, 114, 163, and +207; II., 2, 36, 37; II., 3, 9; II., 4, 42; III., 1, 99; III., 3, 71 +and 80; V., 1, 39, 40, 48, 50, 176; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 3, 32. +Instances can be given of lines divided between four speakers—e.g., +<span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, V., 3, 23; V., 4, 167; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, II., +7, 20; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 4, 50; IV., 1, 83; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, V., 4, 209. +The carelessness of the metre in <span class="tei tei-hi"><span style="font-style: italic">The Old Law</span></span> is in itself proof +that Massinger had little to do with it.</dd><dt class="tei tei-notelabel"><a id="note_173" name="note_173" href="#noteref_173">173.</a></dt><dd class="tei tei-notetext">An instance of <span class="tei tei-q">“emphatic”</span> double-ending (<span class="tei tei-hi"><span style="font-style: italic">Oliphant</span></span>, +<span class="tei tei-hi"><span style="font-style: italic">E. S.</span></span>, xiv., 71), common in Fletcher, rare in Massinger.</dd><dt class="tei tei-notelabel"><a id="note_174" name="note_174" href="#noteref_174">174.</a></dt><dd class="tei tei-notetext">I., 5, 38.</dd><dt class="tei tei-notelabel"><a id="note_175" name="note_175" href="#noteref_175">175.</a></dt><dd class="tei tei-notetext">V., 1, 226.</dd><dt class="tei tei-notelabel"><a id="note_176" name="note_176" href="#noteref_176">176.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Matilda in <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span> (IV., 3, 170), and +Olinda in <span class="tei tei-hi"><span style="font-style: italic">The Lovers' Progress</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_177" name="note_177" href="#noteref_177">177.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Frogs</span></span>, l. 1413.</dd><dt class="tei tei-notelabel"><a id="note_178" name="note_178" href="#noteref_178">178.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> the dialogue in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, I., 1, 1-24. <span class="tei tei-q">“Heaven's +greatest blessings”</span> (line 21) is a very characteristic phrase. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, II., 1, 216.</dd><dt class="tei tei-notelabel"><a id="note_179" name="note_179" href="#noteref_179">179.</a></dt><dd class="tei tei-notetext">Boyle (<span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, 385-88) is severe but not, to my mind, +convincing. Reading between the lines, one arrives at the +conclusion that Boyle admired Massinger enormously, and +would have allowed none else to abuse him except himself. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> his spirited attack on Charles Lamb's <span class="tei tei-q">“unfair judgment”</span> +(pp. 371-2).</dd><dt class="tei tei-notelabel"><a id="note_180" name="note_180" href="#noteref_180">180.</a></dt><dd class="tei tei-notetext">Rubens took his wives as models for his art; let us hope +that Massinger's portrait of the imperious woman was not drawn +from his wife. We happen to know that he was married.</dd><dt class="tei tei-notelabel"><a id="note_181" name="note_181" href="#noteref_181">181.</a></dt><dd class="tei tei-notetext">I., 1. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Matilda in <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span> (III., 3, 147), +and Donusa in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span> (II., 4).</dd><dt class="tei tei-notelabel"><a id="note_182" name="note_182" href="#noteref_182">182.</a></dt><dd class="tei tei-notetext">IV., 1; V., 4. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Thamasta in Ford's <span class="tei tei-hi"><span style="font-style: italic">Lover's Melancholy</span></span> +(III., 2), Calantha's request to her father in <span class="tei tei-hi"><span style="font-style: italic">The Broken +Heart</span></span> (IV., 3), Fiormonda in <span class="tei tei-hi"><span style="font-style: italic">Love's Sacrifice</span></span> (I., 2), Hidaspes +in <span class="tei tei-hi"><span style="font-style: italic">Cupid's Revenge</span></span> (I., 3).</dd><dt class="tei tei-notelabel"><a id="note_183" name="note_183" href="#noteref_183">183.</a></dt><dd class="tei tei-notetext">Act I., 3.</dd><dt class="tei tei-notelabel"><a id="note_184" name="note_184" href="#noteref_184">184.</a></dt><dd class="tei tei-notetext">III., 1, 161. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Romeo and Juliet</span></span>, I., 5, 95.</dd><dt class="tei tei-notelabel"><a id="note_185" name="note_185" href="#noteref_185">185.</a></dt><dd class="tei tei-notetext">The situation is not unknown in modern fiction; take, +for example, <span class="tei tei-hi"><span style="font-style: italic">Dr. Breen's Practice</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The House of Lynch</span></span>. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Jebb's <span class="tei tei-hi"><span style="font-style: italic">Bentley</span></span>, p. 197.</dd><dt class="tei tei-notelabel"><a id="note_186" name="note_186" href="#noteref_186">186.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Op. cit.</span></span>, p. 317.</dd><dt class="tei tei-notelabel"><a id="note_187" name="note_187" href="#noteref_187">187.</a></dt><dd class="tei tei-notetext">A favourite phrase of Massinger's—e.g., <span class="tei tei-hi"><span style="font-style: italic">Emperor of the +East</span></span>, II., 1, 345; V., 2, 83; <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, II., 3, 112; +<span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1, 312; IV., 1, 110; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, +II., 3, 77.</dd><dt class="tei tei-notelabel"><a id="note_188" name="note_188" href="#noteref_188">188.</a></dt><dd class="tei tei-notetext">B. Matthews, p. 318.</dd><dt class="tei tei-notelabel"><a id="note_189" name="note_189" href="#noteref_189">189.</a></dt><dd class="tei tei-notetext">Especially Sir A. W. Ward (<span class="tei tei-hi"><span style="font-style: italic">English Dramatic Literature</span></span>, +iii., pp. 41-42). <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also G. C. Macaulay in <span class="tei tei-hi"><span style="font-style: italic">Cambridge History +of English Literature</span></span>, vol. vi., p. 121, and Schelling's verdict.</dd><dt class="tei tei-notelabel"><a id="note_190" name="note_190" href="#noteref_190">190.</a></dt><dd class="tei tei-notetext">The Venetian in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_191" name="note_191" href="#noteref_191">191.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Dr. Bradley (<span class="tei tei-hi"><span style="font-style: italic">Oxford Lectures</span></span>, pp. 373-4) minimizes the +objections to this custom, without, however, dwelling on the +moral problem. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Mr. Percy Simpson's remarks in +<span class="tei tei-hi"><span style="font-style: italic">Shakspere's England</span></span>, ii., p. 246. Prynne deals with it +(<span class="tei tei-hi"><span style="font-style: italic">Histriomastix</span></span>, ed. 1633, pp. 214-216). He allows, reluctantly, +that <span class="tei tei-q">“men actors in women's attire are not altogether so bad, +so discommendable as women stage-players,”</span> but goes on to +say: <span class="tei tei-q">“since both of them are evill, yea extremely vitious, +neither of them necessary, both superfluous as all playes and +players are; the superabundant sinfulnesse of the one, can +neither justifie the lawfulnesse, nor extenuate the wickednesse +of the other.... This should rather bee the conclusion, both +of them are abominable, both intolerable, neither of them +laudable or necessary; therefore both of them to bee abandoned, +neither of them henceforth to be tollerated among Christians.”</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Ford, in <span class="tei tei-hi"><span style="font-style: italic">Love's Sacrifice</span></span> (III., 2), refers to the novelty of +women-antics—<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, of women acting in masques. It is clear +that Queen Henrietta Maria, with her passion for appearing +on the stage in masques, however much she may have been +before the times, must have caused great scandal to the Puritan +party. The complications which sometimes arise from the use +of men for female parts may be illustrated from Middleton's +amusing play, <span class="tei tei-hi"><span style="font-style: italic">The Widow</span></span>, where Martia is disguised as a man, +Ansaldo, and, to escape further complications, is subsequently +disguised as a woman, <span class="tei tei-hi"><span style="font-style: italic">being a boy all the time</span></span>. We find the +same thing in the second Luce in <span class="tei tei-hi"><span style="font-style: italic">The Wise Woman of Hogsdon</span></span>.</p></dd><dt class="tei tei-notelabel"><a id="note_192" name="note_192" href="#noteref_192">192.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Supra</span></span>, p. <a href="#Pg038" class="tei tei-ref">38</a>.</dd><dt class="tei tei-notelabel"><a id="note_193" name="note_193" href="#noteref_193">193.</a></dt><dd class="tei tei-notetext">Though Massinger does not owe much to Chapman, it is +to be noted that this trick of repeating a phrase occurs several +times in Chapman's popular play, <span class="tei tei-hi"><span style="font-style: italic">Bussy d'Ambois</span></span>. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> +III., 1., <span class="tei tei-q">“He shall confess all, and you then may hang him,”</span> +and towards the end of the same Act, <span class="tei tei-q">“Ay, anything but +killing of the King;”</span> and in <span class="tei tei-hi"><span style="font-style: italic">The Conspiracy of Byron</span></span>, +Act II., in La Fin's speech, <span class="tei tei-q">“I can make good”</span> four times +at the end of the line. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-q">“Behold the Turk and his great +Empress”</span> in <span class="tei tei-hi"><span style="font-style: italic">Tamburlaine</span></span>, pt. I., V., 1; <span class="tei tei-q">“I love my lord; let +that suffice for me”</span> in Greene's <span class="tei tei-hi"><span style="font-style: italic">Orlando Furioso</span></span>, I., 1.</dd><dt class="tei tei-notelabel"><a id="note_194" name="note_194" href="#noteref_194">194.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, III., 4.</dd><dt class="tei tei-notelabel"><a id="note_195" name="note_195" href="#noteref_195">195.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">A few instances of γνῶμαι may be given from Massinger; +his debt to Shakspere will be clear: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, I., 1, 20: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em">There is a minute<br /> +When a man's presence speaks in his own cause<br /> +More than the tongues of twenty advocates. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, 241: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +For a flying foe<br /> +Discreet and provident conquerors build up<br /> +A bridge of gold. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, IV., 1, 99: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +O dear madam,<br /> +We are all the balls of time, toss'd to and fro,<br /> +From the plough unto the throne, and back again;<br /> +Under the swing of destiny mankind suffers. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Plautus' Captivi</span></span>, Prologue, 22, <span class="tei tei-q">“Enimvero di nos quasi +pilas homines habent;”</span> <span class="tei tei-hi"><span style="font-style: italic">Pericles</span></span>, II., 1, 63; and <span class="tei tei-hi"><span style="font-style: italic">The Duchess +of Malfi</span></span>, p. 99<span class="tei tei-hi"><span style="font-style: italic">a</span></span>; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Bees</span></span>, char, vii.) +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, IV., 1, 69: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Fortune rules all;<br /> +We are her tennis-balls. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Greg's <span class="tei tei-hi"><span style="font-style: italic">Henslowe Papers</span></span>, p. 143.) +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, III., 2, 3: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +A diamond,<br /> +Though set in horn, is still a diamond<br /> +And sparkles, as in purest gold. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Very Woman</span></span>, IV., 1, 90: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Revenge, that thirsty dropsy of our souls,<br /> +Which makes us covet that which hurts us most,<br /> +Is not alone sweet, but partakes of tartness. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, I., 1, 60: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Dangers that we see<br /> +To threaten ruin, are with ease prevented;<br /> +But those strike deadly that come unexpected. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, III., 1, 138: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Love<br /> +Steals sometimes through the ear into the heart,<br /> +As well as by the eye. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 1, 79: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Ill news, madam,<br /> +Are swallow-wing'd, but what's good walks on crutches. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Virgin Martyr</span></span>, IV., 1, 103: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Pleasures forc'd<br /> +Are unripe apples; sour, not worth the plucking. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, IV., 1, 187: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Though I must grant<br /> +Riches, well-got, to be a useful servant,<br /> +But a bad master. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 3, 100: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +He that would govern others, first should be<br /> +The master of himself, richly endu'd<br /> +With depth of understanding, height of courage,<br /> +And those remarkable graces which I dare not<br /> +Ascribe unto myself. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, III., 1, 6: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +But turbulent spirits, raised beyond themselves<br /> +With ease, are not so soon laid; they oft prove<br /> +Dangerous to him that call'd them up. +</p></dd><dt class="tei tei-notelabel"><a id="note_196" name="note_196" href="#noteref_196">196.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Hours in a Library</span></span>, i., p. 167.</dd><dt class="tei tei-notelabel"><a id="note_197" name="note_197" href="#noteref_197">197.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span>, 1460<span class="tei tei-hi"><span style="font-style: italic">b</span></span>, 4.</dd><dt class="tei tei-notelabel"><a id="note_198" name="note_198" href="#noteref_198">198.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <a href="#Appendix_VI" class="tei tei-ref">Appendix VI.</a> and the discussion in Robert Bridges' +<span class="tei tei-hi"><span style="font-style: italic">Milton</span></span>, Appendix D, pp. 56-57. The same thing is found again +and again in Shirley's <span class="tei tei-hi"><span style="font-style: italic">Lady of Pleasure</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_199" name="note_199" href="#noteref_199">199.</a></dt><dd class="tei tei-notetext">For a rhymed passage <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, IV., 1, 141-152.</dd><dt class="tei tei-notelabel"><a id="note_200" name="note_200" href="#noteref_200">200.</a></dt><dd class="tei tei-notetext">We have a few unimportant poems in rhyme from his +pen, which show the same characteristics of style as his +blank verse, though fettered by the restraints of the couplet. +Some of his songs are not at all bad; <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span>; for example, <span class="tei tei-hi"><span style="font-style: italic">Emperor +of the East</span></span>, V., 3: <span class="tei tei-q">“Why art thou slow, thou rest of trouble, +Death?”</span> <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, IV., 2, The songs of Juno and Hymen; +V., 1, the <span class="tei tei-q">“entertainment of the Forest's Queen.”</span> <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, +II., 2, the song of Pallas; III., 5, song beginning, <span class="tei tei-q">“The blushing +rose and purple flower.”</span> It must, however, be conceded +that these songs are commonplace.</dd><dt class="tei tei-notelabel"><a id="note_201" name="note_201" href="#noteref_201">201.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Maid of Honour.</span></span> The same name is found in Ben Jonson's +unfortunate <span class="tei tei-hi"><span style="font-style: italic">New Inn</span></span>, produced in 1629. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, +II., 2, 182: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Mary.</span></span> Whose sheep are these, whose oxen? The Lady Plenty's. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Plenty.</span></span> A plentiful pox upon you. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, IV., 2, 2: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Did not Master Marrall<br /> +(He has marr'd all I am sure) strictly command us? +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, IV., 2, 68: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +No, though the great Turk came, instead of turkies<br /> +To beg any favour, I am inexorable. +</p></dd><dt class="tei tei-notelabel"><a id="note_202" name="note_202" href="#noteref_202">202.</a></dt><dd class="tei tei-notetext">Belgrade in <span class="tei tei-hi"><span style="font-style: italic">The Unnatural Combat</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_203" name="note_203" href="#noteref_203">203.</a></dt><dd class="tei tei-notetext">Boyle (<span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, pp. 588-9) points out that Massinger +<span class="tei tei-q">“succeeds admirably in depicting the witty pertness of a +saucy page.”</span> It does not, therefore, follow that he had been +one himself, as has been supposed by some.</dd><dt class="tei tei-notelabel"><a id="note_204" name="note_204" href="#noteref_204">204.</a></dt><dd class="tei tei-notetext">In <span class="tei tei-hi"><span style="font-style: italic">The New Way</span></span> and <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_205" name="note_205" href="#noteref_205">205.</a></dt><dd class="tei tei-notetext">Mr. Ben Greet's Company has from time to time given a +charming alfresco performance of <span class="tei tei-hi"><span style="font-style: italic">The Great Duke of Florence</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_206" name="note_206" href="#noteref_206">206.</a></dt><dd class="tei tei-notetext">Preface to Sir John V. O. Barnavelt (<span class="tei tei-hi"><span style="font-style: italic">Old Plays</span></span>, vol. ii., +p. 204).</dd><dt class="tei tei-notelabel"><a id="note_207" name="note_207" href="#noteref_207">207.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Op. cit.</span></span>, p. 405.</dd><dt class="tei tei-notelabel"><a id="note_208" name="note_208" href="#noteref_208">208.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Op. cit.</span></span>, p. 312.</dd><dt class="tei tei-notelabel"><a id="note_209" name="note_209" href="#noteref_209">209.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Sforza in <span class="tei tei-hi"><span style="font-style: italic">The Duke of Milan</span></span>; Theodosius in <span class="tei tei-hi"><span style="font-style: italic">The +Emperor of the East</span></span>; and especially, Leosthenes in <span class="tei tei-hi"><span style="font-style: italic">The +Bondman</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_210" name="note_210" href="#noteref_210">210.</a></dt><dd class="tei tei-notetext">The first quarto of <span class="tei tei-hi"><span style="font-style: italic">Othello</span></span> appeared in 1622, <span class="tei tei-hi"><span style="font-style: italic">The Duke</span></span> in +1623.</dd><dt class="tei tei-notelabel"><a id="note_211" name="note_211" href="#noteref_211">211.</a></dt><dd class="tei tei-notetext">Perhaps Macbeth and Lady Macbeth are the only instances. +Notice in <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> various rapid changes of +mind—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, III., 2, 336: <span class="tei tei-hi"><span style="font-variant: small-caps">Surrey.</span></span> <span class="tei tei-q">“I forgive him”</span>; V., 2, +172: <span class="tei tei-hi"><span style="font-variant: small-caps">Gardiner.</span></span> <span class="tei tei-q">“With a true heart and brother love I do +it.”</span> Henry V and Antony are other instances which will occur +to everyone. In the case of the former, at any rate, I for one +feel that Shakspere cuts the Gordian knot.</dd><dt class="tei tei-notelabel"><a id="note_212" name="note_212" href="#noteref_212">212.</a></dt><dd class="tei tei-notetext">The soliloquy of Luke over his brother's wealth is one of +the most splendid efforts of eloquence in English. (<span class="tei tei-hi"><span style="font-style: italic">City +Madam</span></span>, III., 3.)</dd><dt class="tei tei-notelabel"><a id="note_213" name="note_213" href="#noteref_213">213.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I.</dd><dt class="tei tei-notelabel"><a id="note_214" name="note_214" href="#noteref_214">214.</a></dt><dd class="tei tei-notetext">I., 1.</dd><dt class="tei tei-notelabel"><a id="note_215" name="note_215" href="#noteref_215">215.</a></dt><dd class="tei tei-notetext">I., 2.</dd><dt class="tei tei-notelabel"><a id="note_216" name="note_216" href="#noteref_216">216.</a></dt><dd class="tei tei-notetext">V., 2, 129.</dd><dt class="tei tei-notelabel"><a id="note_217" name="note_217" href="#noteref_217">217.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">IV., 3, 133: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Vitelli.</span></span> Your intent to win me<br /> +To be of your belief, proceeded from<br /> +Your fear to die. Can there be strength in that<br /> +Religion, that suffers us to tremble<br /> +At that which every day, nay hour, we haste to? +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Donusa.</span></span> This is unanswerable, and there's something tells me<br /> +I err in my opinion. +</p></dd><dt class="tei tei-notelabel"><a id="note_218" name="note_218" href="#noteref_218">218.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Virgin Martyr</span></span>, III., 1, 186.</dd><dt class="tei tei-notelabel"><a id="note_219" name="note_219" href="#noteref_219">219.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">IV., V. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> especially IV., 1, 138: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Lorenzo.</span></span> Stay, I feel<br /> +A sudden alteration. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Martino.</span></span> Here are fine whimsies. +</p></dd><dt class="tei tei-notelabel"><a id="note_220" name="note_220" href="#noteref_220">220.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span>, 1454<span class="tei tei-hi"><span style="font-style: italic">a</span></span>, 33.</dd><dt class="tei tei-notelabel"><a id="note_221" name="note_221" href="#noteref_221">221.</a></dt><dd class="tei tei-notetext">III., 3; V., 3, 33. After all, Corisca does not repent of +her worst faults, only of her luxury and cruelty to her slaves. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also The Projector in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, I., 2, 257. +On the other hand, the conversion of the courtiers in the same +play (II., 1, 154) is according to character.</dd><dt class="tei tei-notelabel"><a id="note_222" name="note_222" href="#noteref_222">222.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span>, 1454<span class="tei tei-hi"><span style="font-style: italic">a</span></span>, 26.</dd><dt class="tei tei-notelabel"><a id="note_223" name="note_223" href="#noteref_223">223.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span>, 1454<span class="tei tei-hi"><span style="font-style: italic">a</span></span>, 28.</dd><dt class="tei tei-notelabel"><a id="note_224" name="note_224" href="#noteref_224">224.</a></dt><dd class="tei tei-notetext">Leslie Stephen has anticipated me here. <span class="tei tei-q">“The truth +seems to be that Massinger is subject to an illusion natural +enough to a man who is more of the rhetorician than the seer. +He fancies that eloquence must be irresistible. He takes the +change of mood produced by an elevated appeal to the feelings +for a change of character”</span> (<span class="tei tei-hi"><span style="font-style: italic">Hours in a Library</span></span>, ii., p. 164).</dd><dt class="tei tei-notelabel"><a id="note_225" name="note_225" href="#noteref_225">225.</a></dt><dd class="tei tei-notetext">Here again I find myself in agreement with Leslie Stephen. +<span class="tei tei-q">“Massinger's plays are a gradual unravelling of a series of +incidents, each following intelligibly from the preceding situation, +and suggestive of many eloquent observations, though not +developments of one master thought. We often feel, that if +external circumstances had been propitious, he would have +expressed himself more naturally, in the form of a prose +romance than in a drama”</span> (<span class="tei tei-hi"><span style="font-style: italic">Op. cit.</span></span>, ii., p. 157). <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Coleridge's +remark that Massinger's plays are <span class="tei tei-q">“as interesting as +novels.”</span> How much character-drawing is there in Boccaccio +or Paynter?</dd><dt class="tei tei-notelabel"><a id="note_226" name="note_226" href="#noteref_226">226.</a></dt><dd class="tei tei-notetext">Mr. Nichol Smith (<span class="tei tei-hi"><span style="font-style: italic">Shakspere's England</span></span>, ii., p. 202) doubts +the <span class="tei tei-q">“association of Pembroke with Shakspere.”</span></dd><dt class="tei tei-notelabel"><a id="note_227" name="note_227" href="#noteref_227">227.</a></dt><dd class="tei tei-notetext">Sir Sidney Lee (<span class="tei tei-hi"><span style="font-style: italic">Life of W. Shakespeare</span></span>, 1915, p. 441) notes +<span class="tei tei-q">“the almost magical success”</span> with which Massinger echoes +Shakspere's tones.</dd><dt class="tei tei-notelabel"><a id="note_228" name="note_228" href="#noteref_228">228.</a></dt><dd class="tei tei-notetext">In a <span class="tei tei-q">“mock”</span> romance published at London in 1656, +<span class="tei tei-hi"><span style="font-style: italic">Wit and Fancy in a Maze</span></span> (Book 2, chapter iv.), the Enchantress +Lamia and the hero Don Zara del Fogo go to Elysium and +find everything in an uproar. Ajax and Ulysses are quarrelling; +Homer and Hesiod; Statius and Virgil. Last of all Ben +Jonson <span class="tei tei-q">“had openly vaunted himself the first and best of +English poets.”</span> This is much resented by Chaucer, Chapman, +and Spenser; last of all Shakspere and Fletcher appear <span class="tei tei-q">“with +a strong party”</span> to claim the first place. Among <span class="tei tei-q">“their life +guard”</span> are mentioned Goffe, Massinger, Dekker, Webster, +Suckling, Cartwright, Carew. Did Ben Jonson dislike +Massinger as Mr. Phelan conjectures?</dd><dt class="tei tei-notelabel"><a id="note_229" name="note_229" href="#noteref_229">229.</a></dt><dd class="tei tei-notetext">II., 1, 100.</dd><dt class="tei tei-notelabel"><a id="note_230" name="note_230" href="#noteref_230">230.</a></dt><dd class="tei tei-notetext">IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_231" name="note_231" href="#noteref_231">231.</a></dt><dd class="tei tei-notetext">IV., 3.</dd><dt class="tei tei-notelabel"><a id="note_232" name="note_232" href="#noteref_232">232.</a></dt><dd class="tei tei-notetext">I., 3.</dd><dt class="tei tei-notelabel"><a id="note_233" name="note_233" href="#noteref_233">233.</a></dt><dd class="tei tei-notetext">III., 1, 261.</dd><dt class="tei tei-notelabel"><a id="note_234" name="note_234" href="#noteref_234">234.</a></dt><dd class="tei tei-notetext">III., 1.</dd><dt class="tei tei-notelabel"><a id="note_235" name="note_235" href="#noteref_235">235.</a></dt><dd class="tei tei-notetext">II., 4. The good brigand goes back beyond Robin Hood +to Herodotus, VI. 16.</dd><dt class="tei tei-notelabel"><a id="note_236" name="note_236" href="#noteref_236">236.</a></dt><dd class="tei tei-notetext">IV., 1.</dd><dt class="tei tei-notelabel"><a id="note_237" name="note_237" href="#noteref_237">237.</a></dt><dd class="tei tei-notetext">Compare especially V., 2, 104 with <span class="tei tei-hi"><span style="font-style: italic">Midsummer Night's +Dream</span></span>, II., 2, 145.</dd><dt class="tei tei-notelabel"><a id="note_238" name="note_238" href="#noteref_238">238.</a></dt><dd class="tei tei-notetext">II., 1, 22.</dd><dt class="tei tei-notelabel"><a id="note_239" name="note_239" href="#noteref_239">239.</a></dt><dd class="tei tei-notetext">II., 4.</dd><dt class="tei tei-notelabel"><a id="note_240" name="note_240" href="#noteref_240">240.</a></dt><dd class="tei tei-notetext">III., 1, 24.</dd><dt class="tei tei-notelabel"><a id="note_241" name="note_241" href="#noteref_241">241.</a></dt><dd class="tei tei-notetext">II., 7.</dd><dt class="tei tei-notelabel"><a id="note_242" name="note_242" href="#noteref_242">242.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, III., 2, 13.</dd><dt class="tei tei-notelabel"><a id="note_243" name="note_243" href="#noteref_243">243.</a></dt><dd class="tei tei-notetext">IV., 3.</dd><dt class="tei tei-notelabel"><a id="note_244" name="note_244" href="#noteref_244">244.</a></dt><dd class="tei tei-notetext">III., 3, 91-2.</dd><dt class="tei tei-notelabel"><a id="note_245" name="note_245" href="#noteref_245">245.</a></dt><dd class="tei tei-notetext">IV., 1.</dd><dt class="tei tei-notelabel"><a id="note_246" name="note_246" href="#noteref_246">246.</a></dt><dd class="tei tei-notetext">IV., 5.</dd><dt class="tei tei-notelabel"><a id="note_247" name="note_247" href="#noteref_247">247.</a></dt><dd class="tei tei-notetext">III., 4.</dd><dt class="tei tei-notelabel"><a id="note_248" name="note_248" href="#noteref_248">248.</a></dt><dd class="tei tei-notetext">II., 2, 93.</dd><dt class="tei tei-notelabel"><a id="note_249" name="note_249" href="#noteref_249">249.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Othello</span></span>, III., 3.</dd><dt class="tei tei-notelabel"><a id="note_250" name="note_250" href="#noteref_250">250.</a></dt><dd class="tei tei-notetext">V., 1, 376. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Security in prison in <span class="tei tei-hi"><span style="font-style: italic">Eastward Ho</span></span> +(Act V.); Grimaldi in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span> (IV., 1, 4).</dd><dt class="tei tei-notelabel"><a id="note_251" name="note_251" href="#noteref_251">251.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">III., 4, 148. On the other hand, Paulo in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> +(III., 3, 5) observes: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +To choke up his spirits in a dark room,<br /> +Is far more dangerous. +</p></dd><dt class="tei tei-notelabel"><a id="note_252" name="note_252" href="#noteref_252">252.</a></dt><dd class="tei tei-notetext">II., 3.</dd><dt class="tei tei-notelabel"><a id="note_253" name="note_253" href="#noteref_253">253.</a></dt><dd class="tei tei-notetext">V., 2.</dd><dt class="tei tei-notelabel"><a id="note_254" name="note_254" href="#noteref_254">254.</a></dt><dd class="tei tei-notetext">V., 1.</dd><dt class="tei tei-notelabel"><a id="note_255" name="note_255" href="#noteref_255">255.</a></dt><dd class="tei tei-notetext">I., 3, 49. Rowley uses the metaphor in the dedication +of <span class="tei tei-hi"><span style="font-style: italic">A Fair Quarrel</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_256" name="note_256" href="#noteref_256">256.</a></dt><dd class="tei tei-notetext">II., 7.</dd><dt class="tei tei-notelabel"><a id="note_257" name="note_257" href="#noteref_257">257.</a></dt><dd class="tei tei-notetext">III., 1, 49.</dd><dt class="tei tei-notelabel"><a id="note_258" name="note_258" href="#noteref_258">258.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">IV., 1. The language of Ding'em in <span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span> +(IV.; 1, 15) takes us back to Pistol: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Thy word's a law,<br /> +And I obey. Live, scrape-shoe, and be thankful,<br /> +Thou man of muck and money, for as such<br /> +I now salute thee; the suburbian gamesters<br /> +Have heard thy fortunes, and I am, in person,<br /> +Sent to congratulate. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., 2, 59: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Furnace.</span></span> <span class="tei tei-q">“I am appeased, and Furnace now grows cool.”</span> +</p></dd><dt class="tei tei-notelabel"><a id="note_259" name="note_259" href="#noteref_259">259.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">I., 2, 318. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Prophetess</span></span>, I., 2, 31: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I presently, inspired with holy fire,<br /> +And my prophetic spirit burning in me,<br /> +Gave answer from the gods. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Double Marriage</span></span>, II., 4, 30: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Who stole her? Oh! my prophetic soul! +</p></dd><dt class="tei tei-notelabel"><a id="note_260" name="note_260" href="#noteref_260">260.</a></dt><dd class="tei tei-notetext">I., 5, 40.</dd><dt class="tei tei-notelabel"><a id="note_261" name="note_261" href="#noteref_261">261.</a></dt><dd class="tei tei-notetext">IV., 2, 39.</dd><dt class="tei tei-notelabel"><a id="note_262" name="note_262" href="#noteref_262">262.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Virgin Martyr</span></span>, III., 3, 46.</dd><dt class="tei tei-notelabel"><a id="note_263" name="note_263" href="#noteref_263">263.</a></dt><dd class="tei tei-notetext">III., 1, 118.</dd><dt class="tei tei-notelabel"><a id="note_264" name="note_264" href="#noteref_264">264.</a></dt><dd class="tei tei-notetext">V., 1, 170.</dd><dt class="tei tei-notelabel"><a id="note_265" name="note_265" href="#noteref_265">265.</a></dt><dd class="tei tei-notetext">II., 1, 99. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, III., 2, 35.</dd><dt class="tei tei-notelabel"><a id="note_266" name="note_266" href="#noteref_266">266.</a></dt><dd class="tei tei-notetext">IV., 1, 1.</dd><dt class="tei tei-notelabel"><a id="note_267" name="note_267" href="#noteref_267">267.</a></dt><dd class="tei tei-notetext">III., 2, 18.</dd><dt class="tei tei-notelabel"><a id="note_268" name="note_268" href="#noteref_268">268.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Coriolanus</span></span>, I., 1, 99.</dd><dt class="tei tei-notelabel"><a id="note_269" name="note_269" href="#noteref_269">269.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">I., 2, 40. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., 3, 88, and <span class="tei tei-hi"><span style="font-style: italic">Emperor of +the East</span></span>, V., 2, 83: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I am flesh and blood, as you are, sensible<br /> +Of heat and cold, as much a slave unto<br /> +The tyranny of my passions as the meanest<br /> +Of my poor subjects. +</p></dd><dt class="tei tei-notelabel"><a id="note_270" name="note_270" href="#noteref_270">270.</a></dt><dd class="tei tei-notetext">III., 1.</dd><dt class="tei tei-notelabel"><a id="note_271" name="note_271" href="#noteref_271">271.</a></dt><dd class="tei tei-notetext">IV., 1, 103.</dd><dt class="tei tei-notelabel"><a id="note_272" name="note_272" href="#noteref_272">272.</a></dt><dd class="tei tei-notetext">II., 1, 54.</dd><dt class="tei tei-notelabel"><a id="note_273" name="note_273" href="#noteref_273">273.</a></dt><dd class="tei tei-notetext">II., 5.</dd><dt class="tei tei-notelabel"><a id="note_274" name="note_274" href="#noteref_274">274.</a></dt><dd class="tei tei-notetext">IV., 3, 131-137.</dd><dt class="tei tei-notelabel"><a id="note_275" name="note_275" href="#noteref_275">275.</a></dt><dd class="tei tei-notetext">II., 1, 38. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Bradley, <span class="tei tei-hi"><span style="font-style: italic">Shakspearean Tragedy</span></span>, p. 268.</dd><dt class="tei tei-notelabel"><a id="note_276" name="note_276" href="#noteref_276">276.</a></dt><dd class="tei tei-notetext">Thus, to take an instance at random, the madness of +the Englishman is referred to in Webster's <span class="tei tei-hi"><span style="font-style: italic">Malcontent</span></span> (III. 1).</dd><dt class="tei tei-notelabel"><a id="note_277" name="note_277" href="#noteref_277">277.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <a href="#Appendix_IV" class="tei tei-ref">Appendix IV</a>.</dd><dt class="tei tei-notelabel"><a id="note_278" name="note_278" href="#noteref_278">278.</a></dt><dd class="tei tei-notetext">IV., 1.</dd><dt class="tei tei-notelabel"><a id="note_279" name="note_279" href="#noteref_279">279.</a></dt><dd class="tei tei-notetext">IV., 1, 1. The last line shows how prosaic Massinger +could on occasion be. In judging our older writers, however, +it is important to remember that words change their poetical +value with time; it is clear, for example, that in James I.'s +age, <span class="tei tei-q">“undertaker,”</span> <span class="tei tei-q">“proceedings,”</span> <span class="tei tei-q">“punctually,”</span> <span class="tei tei-q">“aunt,”</span> +were regarded as legitimate in poetry.</dd><dt class="tei tei-notelabel"><a id="note_280" name="note_280" href="#noteref_280">280.</a></dt><dd class="tei tei-notetext">V., 2, 49-54.</dd><dt class="tei tei-notelabel"><a id="note_281" name="note_281" href="#noteref_281">281.</a></dt><dd class="tei tei-notetext">II., 2, 23.</dd><dt class="tei tei-notelabel"><a id="note_282" name="note_282" href="#noteref_282">282.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., 2, 96.</dd><dt class="tei tei-notelabel"><a id="note_283" name="note_283" href="#noteref_283">283.</a></dt><dd class="tei tei-notetext">IV., 4.</dd><dt class="tei tei-notelabel"><a id="note_284" name="note_284" href="#noteref_284">284.</a></dt><dd class="tei tei-notetext">V., 2.</dd><dt class="tei tei-notelabel"><a id="note_285" name="note_285" href="#noteref_285">285.</a></dt><dd class="tei tei-notetext">II., 1.</dd><dt class="tei tei-notelabel"><a id="note_286" name="note_286" href="#noteref_286">286.</a></dt><dd class="tei tei-notetext">II., 2, 84-98; <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., 2, 2; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, +I., 3, 216; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, III., 2, 54; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, III., 1, +23; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, I., 4, 23; <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, V., 1, 69; +<span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, IV., 1, 131 and 231.</dd><dt class="tei tei-notelabel"><a id="note_287" name="note_287" href="#noteref_287">287.</a></dt><dd class="tei tei-notetext">III., 1, 12-16.</dd><dt class="tei tei-notelabel"><a id="note_288" name="note_288" href="#noteref_288">288.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, II., 2, 36; IV., 4, 22; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, +V., 1, 72-156; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, IV., 3, 39; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, +IV., 3, 97; <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, IV., 1, 199; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, +V., 1, 526-7; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, 13; II., 5, 56; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, III., 4, 21.</dd><dt class="tei tei-notelabel"><a id="note_289" name="note_289" href="#noteref_289">289.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, II., 2, 17-22; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, IV., 2, 26-33.</dd><dt class="tei tei-notelabel"><a id="note_290" name="note_290" href="#noteref_290">290.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 2, 30; IV., 2, 79; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 2, 36; IV., 2, 44; +IV., 4, 21; <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, II., 2, 20; IV., 2, 99; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the +East</span></span>, I., 2, 223; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, IV., 1, 49; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, +297.</dd><dt class="tei tei-notelabel"><a id="note_291" name="note_291" href="#noteref_291">291.</a></dt><dd class="tei tei-notetext">III., 1, 26; III., 1, 32.</dd><dt class="tei tei-notelabel"><a id="note_292" name="note_292" href="#noteref_292">292.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span> and <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, <span class="tei tei-hi"><span style="font-style: italic">passim</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_293" name="note_293" href="#noteref_293">293.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Churton Collins' <span class="tei tei-hi"><span style="font-style: italic">Studies in Shakspere: No. V.</span></span>, <span class="tei tei-q">“Was +Shakspere a lawyer?”</span> Mr. Arthur Underhill, in <span class="tei tei-hi"><span style="font-style: italic">Shakspere's +England</span></span>, Vol. i, No. xiii., decides that Shakspere's <span class="tei tei-q">“knowledge +of law was neither profound nor accurate.”</span></dd><dt class="tei tei-notelabel"><a id="note_294" name="note_294" href="#noteref_294">294.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., 2, 60-64. It is to be noted that doctors +are common also in Fletcher, the reason being that there are +so many duels, and unexpected recoveries, in that author. +Thus, the surgeon diets the Duke of Sesse in <span class="tei tei-hi"><span style="font-style: italic">The Double +Marriage</span></span> (II., 4); and in the same play the doctor plays tricks +on Castruccio's food (V., 1). In <span class="tei tei-hi"><span style="font-style: italic">The Sea Voyage</span></span> (III., 1) the +surgeon is introduced merely to make fun of his apparatus. +Doctors, chirurgeons, and apothecaries appear in fifteen of the +plays of Beaumont and Fletcher. The same remark applies +to Webster; <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Duchess of Malfi</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The White Devil</span></span>, and +especially <span class="tei tei-hi"><span style="font-style: italic">The Devil's Law-case</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_295" name="note_295" href="#noteref_295">295.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>, I., 1, 75; I., 2, 42; III., 2, 171.</dd><dt class="tei tei-notelabel"><a id="note_296" name="note_296" href="#noteref_296">296.</a></dt><dd class="tei tei-notetext">II., 3, 42 and 72; III., 2, 305, 307, 353.</dd><dt class="tei tei-notelabel"><a id="note_297" name="note_297" href="#noteref_297">297.</a></dt><dd class="tei tei-notetext">II., 3, 93.</dd><dt class="tei tei-notelabel"><a id="note_298" name="note_298" href="#noteref_298">298.</a></dt><dd class="tei tei-notetext">III., 2, 37; <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> III., 4, 69. Beaumont observes a similar +strictness.</dd><dt class="tei tei-notelabel"><a id="note_299" name="note_299" href="#noteref_299">299.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E.g.</span></span>, I., 1; III., 2.</dd><dt class="tei tei-notelabel"><a id="note_300" name="note_300" href="#noteref_300">300.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E.g.</span></span>, III., 2, 336; IV., 2, 73; V., 4, 172.</dd><dt class="tei tei-notelabel"><a id="note_301" name="note_301" href="#noteref_301">301.</a></dt><dd class="tei tei-notetext">II., 1, 88-94.</dd><dt class="tei tei-notelabel"><a id="note_302" name="note_302" href="#noteref_302">302.</a></dt><dd class="tei tei-notetext">II., 2, 143.</dd><dt class="tei tei-notelabel"><a id="note_303" name="note_303" href="#noteref_303">303.</a></dt><dd class="tei tei-notetext">III., 2, 297-8.</dd><dt class="tei tei-notelabel"><a id="note_304" name="note_304" href="#noteref_304">304.</a></dt><dd class="tei tei-notetext">III., 2, 365.</dd><dt class="tei tei-notelabel"><a id="note_305" name="note_305" href="#noteref_305">305.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E.g.</span></span>, I., 1, 39-44; II., 3, 13-16, 18-22, 32; II., 4, 70-73, +78, 79, 129, 130; IV., 1, 56-59; V., 1, 2-5, 11-16, 36; V., 3, 1012, +20-31, 43-45.</dd><dt class="tei tei-notelabel"><a id="note_306" name="note_306" href="#noteref_306">306.</a></dt><dd class="tei tei-notetext">IV., 2, 45.</dd><dt class="tei tei-notelabel"><a id="note_307" name="note_307" href="#noteref_307">307.</a></dt><dd class="tei tei-notetext">V., 3, 10.</dd><dt class="tei tei-notelabel"><a id="note_308" name="note_308" href="#noteref_308">308.</a></dt><dd class="tei tei-notetext">II., 4, 238.</dd><dt class="tei tei-notelabel"><a id="note_309" name="note_309" href="#noteref_309">309.</a></dt><dd class="tei tei-notetext">III., 2, 447.</dd><dt class="tei tei-notelabel"><a id="note_310" name="note_310" href="#noteref_310">310.</a></dt><dd class="tei tei-notetext">IV., 1, 103.</dd><dt class="tei tei-notelabel"><a id="note_311" name="note_311" href="#noteref_311">311.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> II., 3, 77; III., 2, 50—both instances of the method of +anticipation referred to above.</dd><dt class="tei tei-notelabel"><a id="note_312" name="note_312" href="#noteref_312">312.</a></dt><dd class="tei tei-notetext">II., 1, 88.</dd><dt class="tei tei-notelabel"><a id="note_313" name="note_313" href="#noteref_313">313.</a></dt><dd class="tei tei-notetext">III., 2, 393.</dd><dt class="tei tei-notelabel"><a id="note_314" name="note_314" href="#noteref_314">314.</a></dt><dd class="tei tei-notetext">IV., 2, 125.</dd><dt class="tei tei-notelabel"><a id="note_315" name="note_315" href="#noteref_315">315.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Thus Gardiner's dislike of Anne Boleyn (V., 1, 22) is true +to history, though artistically a blemish on the play, because +redundant. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The way in which in IV., 1, and elsewhere, historical details +are dragged in is quite unlike Massinger, and very like Shakspere. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> lines 17-19, 24-29, 38-42, 47-49, 51, 52, 101-103.</p></dd><dt class="tei tei-notelabel"><a id="note_316" name="note_316" href="#noteref_316">316.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">New Shakspere Society's Transactions</span></span>, 1880-86, xxi.</dd><dt class="tei tei-notelabel"><a id="note_317" name="note_317" href="#noteref_317">317.</a></dt><dd class="tei tei-notetext">See Discussion on January 16th, 1885.</dd><dt class="tei tei-notelabel"><a id="note_318" name="note_318" href="#noteref_318">318.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, p. 447.</dd><dt class="tei tei-notelabel"><a id="note_319" name="note_319" href="#noteref_319">319.</a></dt><dd class="tei tei-notetext">For other instances see II., 4, 208; III., 2, 39-42, 55-56, +96, 159; V., 1, 22-3, 36, 109-11; V., 3, 43-45.</dd><dt class="tei tei-notelabel"><a id="note_320" name="note_320" href="#noteref_320">320.</a></dt><dd class="tei tei-notetext">The same remark applies to V., 3, 8.</dd><dt class="tei tei-notelabel"><a id="note_321" name="note_321" href="#noteref_321">321.</a></dt><dd class="tei tei-notetext">Compare such a line as V., 3, 94.</dd><dt class="tei tei-notelabel"><a id="note_322" name="note_322" href="#noteref_322">322.</a></dt><dd class="tei tei-notetext">See p. 87, n. 4.</dd><dt class="tei tei-notelabel"><a id="note_323" name="note_323" href="#noteref_323">323.</a></dt><dd class="tei tei-notetext">For <span class="tei tei-q">“catalogue lines,”</span> <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> I., 2, 33; II., 1. 116; II., 3, 29; +III., 2, 342; V., 5, 48. For assonances, <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> I., 3, 25, 27, 31, +35, 41; II., 1, 126; II., 2, 28, 48; II., 3, 86; II., 4, 92; +III., 2, 125, 129, 213, 214, 236, 255, 259; V., 2, 32; V., 3, 23, +60, 72, 103; V., 4, 94; V., 5, 30. For repetitions of words, <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> +III., 1, 110; III., 2, 29; V., 1, 98, 138. Passages which remind +us of Massinger are I., 4, 101; II., 3, 93; V., 1, 62, 70, and 71; +Epilogue, 5.</dd><dt class="tei tei-notelabel"><a id="note_324" name="note_324" href="#noteref_324">324.</a></dt><dd class="tei tei-notetext">V., 1, 1-7.</dd><dt class="tei tei-notelabel"><a id="note_325" name="note_325" href="#noteref_325">325.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Modern Language Review</span></span>, April, 1916.</dd><dt class="tei tei-notelabel"><a id="note_326" name="note_326" href="#noteref_326">326.</a></dt><dd class="tei tei-notetext">I., 1, 124. My numeration in <span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span> is +Mr. Tucker Brooke's.</dd><dt class="tei tei-notelabel"><a id="note_327" name="note_327" href="#noteref_327">327.</a></dt><dd class="tei tei-notetext">III., 2, 14.</dd><dt class="tei tei-notelabel"><a id="note_328" name="note_328" href="#noteref_328">328.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Op. cit.</span></span>, p. 143.</dd><dt class="tei tei-notelabel"><a id="note_329" name="note_329" href="#noteref_329">329.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The Two Noble Kinsmen</span></span>, I., 3, 8.</dd><dt class="tei tei-notelabel"><a id="note_330" name="note_330" href="#noteref_330">330.</a></dt><dd class="tei tei-notetext">V., 1, 161.</dd><dt class="tei tei-notelabel"><a id="note_331" name="note_331" href="#noteref_331">331.</a></dt><dd class="tei tei-notetext">II., 1 reads to me like Shakspere.</dd><dt class="tei tei-notelabel"><a id="note_332" name="note_332" href="#noteref_332">332.</a></dt><dd class="tei tei-notetext">A Danish scholar, Dr. Bierfreund, maintains this thesis +(Tucker Brooke, Introd., p. xlv).</dd><dt class="tei tei-notelabel"><a id="note_333" name="note_333" href="#noteref_333">333.</a></dt><dd class="tei tei-notetext">II., 3; III., 5.</dd><dt class="tei tei-notelabel"><a id="note_334" name="note_334" href="#noteref_334">334.</a></dt><dd class="tei tei-notetext">This is perhaps what Mr. Bullen believes about the play.</dd><dt class="tei tei-notelabel"><a id="note_335" name="note_335" href="#noteref_335">335.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The Shakespeare Apocrypha.</span></span></dd><dt class="tei tei-notelabel"><a id="note_336" name="note_336" href="#noteref_336">336.</a></dt><dd class="tei tei-notetext">I., 1, 209.</dd><dt class="tei tei-notelabel"><a id="note_337" name="note_337" href="#noteref_337">337.</a></dt><dd class="tei tei-notetext">III., 1, 74.</dd><dt class="tei tei-notelabel"><a id="note_338" name="note_338" href="#noteref_338">338.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">H. E. L.</span></span>, iv., p. 361.</dd><dt class="tei tei-notelabel"><a id="note_339" name="note_339" href="#noteref_339">339.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">New Shakspere Society's Transactions</span></span>, 1880-5, pt. 2, xviii.</dd><dt class="tei tei-notelabel"><a id="note_340" name="note_340" href="#noteref_340">340.</a></dt><dd class="tei tei-notetext">Page 372.</dd><dt class="tei tei-notelabel"><a id="note_341" name="note_341" href="#noteref_341">341.</a></dt><dd class="tei tei-notetext">Page 373.</dd><dt class="tei tei-notelabel"><a id="note_342" name="note_342" href="#noteref_342">342.</a></dt><dd class="tei tei-notetext">Pages 375-6.</dd><dt class="tei tei-notelabel"><a id="note_343" name="note_343" href="#noteref_343">343.</a></dt><dd class="tei tei-notetext">Page 381.</dd><dt class="tei tei-notelabel"><a id="note_344" name="note_344" href="#noteref_344">344.</a></dt><dd class="tei tei-notetext">I., 1, 76.</dd><dt class="tei tei-notelabel"><a id="note_345" name="note_345" href="#noteref_345">345.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E.g.</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 4, 41; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 112; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, +I., 1, 13. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Tamburlaine</span></span>, pt. II., III., 2; <span class="tei tei-hi"><span style="font-style: italic">Orlando Furioso</span></span>, +V., 2.</dd><dt class="tei tei-notelabel"><a id="note_346" name="note_346" href="#noteref_346">346.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Macbeth</span></span>, I., 1, 54.</dd><dt class="tei tei-notelabel"><a id="note_347" name="note_347" href="#noteref_347">347.</a></dt><dd class="tei tei-notetext">Page 387.</dd><dt class="tei tei-notelabel"><a id="note_348" name="note_348" href="#noteref_348">348.</a></dt><dd class="tei tei-notetext">Page 393.</dd><dt class="tei tei-notelabel"><a id="note_349" name="note_349" href="#noteref_349">349.</a></dt><dd class="tei tei-notetext">Page 393.</dd><dt class="tei tei-notelabel"><a id="note_350" name="note_350" href="#noteref_350">350.</a></dt><dd class="tei tei-notetext">Page 394.</dd><dt class="tei tei-notelabel"><a id="note_351" name="note_351" href="#noteref_351">351.</a></dt><dd class="tei tei-notetext">I., 3, 76.</dd><dt class="tei tei-notelabel"><a id="note_352" name="note_352" href="#noteref_352">352.</a></dt><dd class="tei tei-notetext">II., 4, 134.</dd><dt class="tei tei-notelabel"><a id="note_353" name="note_353" href="#noteref_353">353.</a></dt><dd class="tei tei-notetext">Notice in passing that Beaumont is fond of using intransitive +verbs transitively. He also has the phrase <span class="tei tei-q">“twinning +cherries.”</span></dd><dt class="tei tei-notelabel"><a id="note_354" name="note_354" href="#noteref_354">354.</a></dt><dd class="tei tei-notetext">I., 1, 195-206.</dd><dt class="tei tei-notelabel"><a id="note_355" name="note_355" href="#noteref_355">355.</a></dt><dd class="tei tei-notetext">I., 1, 209-213.</dd><dt class="tei tei-notelabel"><a id="note_356" name="note_356" href="#noteref_356">356.</a></dt><dd class="tei tei-notetext">Page 395.</dd><dt class="tei tei-notelabel"><a id="note_357" name="note_357" href="#noteref_357">357.</a></dt><dd class="tei tei-notetext">I., 2.</dd><dt class="tei tei-notelabel"><a id="note_358" name="note_358" href="#noteref_358">358.</a></dt><dd class="tei tei-notetext">Page 397.</dd><dt class="tei tei-notelabel"><a id="note_359" name="note_359" href="#noteref_359">359.</a></dt><dd class="tei tei-notetext">Pages 380-391.</dd><dt class="tei tei-notelabel"><a id="note_360" name="note_360" href="#noteref_360">360.</a></dt><dd class="tei tei-notetext">I., 1, 165; V., 1, 160. Shakspere has <span class="tei tei-q">“the wheaten +garland”</span> of peace in <span class="tei tei-hi"><span style="font-style: italic">Hamlet</span></span>, V., 2, 41.</dd><dt class="tei tei-notelabel"><a id="note_361" name="note_361" href="#noteref_361">361.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, I., 1, 279; IV., 3, 164; <span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, I., +2, 116.</dd><dt class="tei tei-notelabel"><a id="note_362" name="note_362" href="#noteref_362">362.</a></dt><dd class="tei tei-notetext">I., 1, 82.</dd><dt class="tei tei-notelabel"><a id="note_363" name="note_363" href="#noteref_363">363.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, III., 4, 61.</dd><dt class="tei tei-notelabel"><a id="note_364" name="note_364" href="#noteref_364">364.</a></dt><dd class="tei tei-notetext">I., 1, 141. The exact phrase occurs in <span class="tei tei-hi"><span style="font-style: italic">Merchant of Venice</span></span>, +II., 1, 44. <span class="tei tei-q">“The temple”</span> is part of Fletcher's stock-in-trade.</dd><dt class="tei tei-notelabel"><a id="note_365" name="note_365" href="#noteref_365">365.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, V., 2, 45; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 2, 306.</dd><dt class="tei tei-notelabel"><a id="note_366" name="note_366" href="#noteref_366">366.</a></dt><dd class="tei tei-notetext">II., 1, 13.</dd><dt class="tei tei-notelabel"><a id="note_367" name="note_367" href="#noteref_367">367.</a></dt><dd class="tei tei-notetext">I., 1, 77.</dd><dt class="tei tei-notelabel"><a id="note_368" name="note_368" href="#noteref_368">368.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Twelfth Night</span></span>, III., 4, 349.</dd><dt class="tei tei-notelabel"><a id="note_369" name="note_369" href="#noteref_369">369.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, III., 3, 78; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, V., 1, 27.</dd><dt class="tei tei-notelabel"><a id="note_370" name="note_370" href="#noteref_370">370.</a></dt><dd class="tei tei-notetext">1., 2, 47, 48.</dd><dt class="tei tei-notelabel"><a id="note_371" name="note_371" href="#noteref_371">371.</a></dt><dd class="tei tei-notetext">I., 2, 275-278.</dd><dt class="tei tei-notelabel"><a id="note_372" name="note_372" href="#noteref_372">372.</a></dt><dd class="tei tei-notetext">I., 3, 91.</dd><dt class="tei tei-notelabel"><a id="note_373" name="note_373" href="#noteref_373">373.</a></dt><dd class="tei tei-notetext">IV., 2, 50.</dd><dt class="tei tei-notelabel"><a id="note_374" name="note_374" href="#noteref_374">374.</a></dt><dd class="tei tei-notetext">II., 1,66. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Margaret in <span class="tei tei-hi"><span style="font-style: italic">Friar Bacon and Friar Bungay</span></span>, +I., 3, <span class="tei tei-hi"><span style="font-style: italic">ad finem</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_375" name="note_375" href="#noteref_375">375.</a></dt><dd class="tei tei-notetext">II., 3, 151.</dd><dt class="tei tei-notelabel"><a id="note_376" name="note_376" href="#noteref_376">376.</a></dt><dd class="tei tei-notetext">III., 1, 10.</dd><dt class="tei tei-notelabel"><a id="note_377" name="note_377" href="#noteref_377">377.</a></dt><dd class="tei tei-notetext">I., 1, 49. <span class="tei tei-hi"><span style="font-style: italic">Cf. Bashful Lover</span></span>, I., 1, 54; III., 3, 132.</dd><dt class="tei tei-notelabel"><a id="note_378" name="note_378" href="#noteref_378">378.</a></dt><dd class="tei tei-notetext">I., 1, 178-181.</dd><dt class="tei tei-notelabel"><a id="note_379" name="note_379" href="#noteref_379">379.</a></dt><dd class="tei tei-notetext">V., 2, 51. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, III., 2, 157; <span class="tei tei-hi"><span style="font-style: italic">Duke +of Milan</span></span>, V., 2, 82; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, IV., 2, 75; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, V., 3, +108; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, 191. In these last instances marriage is +not referred to, nor is the word <span class="tei tei-q">“despatched”</span> used.</dd><dt class="tei tei-notelabel"><a id="note_380" name="note_380" href="#noteref_380">380.</a></dt><dd class="tei tei-notetext">V., 1, 106.</dd><dt class="tei tei-notelabel"><a id="note_381" name="note_381" href="#noteref_381">381.</a></dt><dd class="tei tei-notetext">II., 1, 128.</dd><dt class="tei tei-notelabel"><a id="note_382" name="note_382" href="#noteref_382">382.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 159, 163; <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1, 4; III., +2, 70; IV., 1, 103; <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, I., 2, 75 and 155; +II., 1, 186; IV., 2, 88; V., 3, 40; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 2, 142; II., 3, +47; III., 5, 34: IV., 1, 86; <span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, I., 1, 175; III., 3, +214, 221 and 234; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, I., 3, 30; <span class="tei tei-hi"><span style="font-style: italic">Parliament of +Love</span></span>, II., 2, 23; III., 3, 150; <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., 2, 28; IV., +3, 99; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, III., 3, 68; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, I., 1, 31; III., 1, +17; III., 2, 49; <span class="tei tei-hi"><span style="font-style: italic">Virgin Martyr</span></span>, I., 1, 321; <span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, I., 1, +85; II., 2, 107 and 313; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, Prol., 2, 14; +II., 1, 324; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 3, 290; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, II., 1, 66. It is +true that blushing plays a great part in all our old dramatists. +Compare in Fletcher, <span class="tei tei-hi"><span style="font-style: italic">False One</span></span>, II., 3, <span class="tei tei-hi"><span style="font-style: italic">ad finem</span></span>; II., 6, +22; Leandro, in <span class="tei tei-hi"><span style="font-style: italic">The Spanish Curate</span></span>, I., 1; and in Shakspere, +<span class="tei tei-hi"><span style="font-style: italic">Henry V</span></span>, V., 2, 253; <span class="tei tei-hi"><span style="font-style: italic">Much Ado</span></span>, IV., 1, 35, 160-163; <span class="tei tei-hi"><span style="font-style: italic">Antony +and Cleopatra</span></span>, I., 1, 29; V., 2,149. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Eastward Ho</span></span>, I., 1. +<span class="tei tei-q">“Give me a little box on the ear, that I may seem to blush”</span>; +II., 1. <span class="tei tei-q">“As I am a lady, if he did not make me blush so that +mine eyes stood awater.”</span> <span class="tei tei-hi"><span style="font-style: italic">Every Man in his Humour</span></span>, V., 1. +<span class="tei tei-q">“Nay, Mistress Bridget, blush not.”</span> <span class="tei tei-hi"><span style="font-style: italic">The Devil is an Ass</span></span>, I., 3; +<span class="tei tei-hi"><span style="font-style: italic">Friar Bacon and Friar Bungay</span></span>, I., 2; <span class="tei tei-hi"><span style="font-style: italic">James IV.</span></span>, III., 3.</dd><dt class="tei tei-notelabel"><a id="note_383" name="note_383" href="#noteref_383">383.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, III., 6, 55; IV., 2, 52; <span class="tei tei-hi"><span style="font-style: italic">Old Law</span></span>, III., 1, 272; +<span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, IV., 5, 202.</dd><dt class="tei tei-notelabel"><a id="note_384" name="note_384" href="#noteref_384">384.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 1, 43; II., 1, 71-75; <span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, I., 1, +157; II., 2, 119; V., 2, 267-270: <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, II., 1, 135 +and 220: II., 3. 29; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, III., 3, 98-102; III., 4, 65; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, +II., 1, 31-34; IV., 1, 147; V., 3, 76-81; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, III., 1, +8-10 and 42: III., 6, 6; IV., 1, 13 and 21; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, +IV., 1, 59; IV., 3, 22; V., 3, 137; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, III., 2, 220; IV., +3, 4; <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, V., 3, 21; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, V., 2, 12; V., 3, +146; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, II., 1, 420: <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, I., 1, 117; +IV., 3, 27.</dd><dt class="tei tei-notelabel"><a id="note_385" name="note_385" href="#noteref_385">385.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 336: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Honoria.</span></span> I am full of thoughts,<br /> +And something there is here I must give form to,<br /> +Though yet an embryon. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 3, 315; II., 1, 74-77; V., 2, 103; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, III., +3, 97; <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, III., 2, 98; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 3, 140; +<span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, V., 1, 129; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, IV., 1, 200; +<span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, IV., 2, 105. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, III., +3, 13; <span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret</span></span>, I., 2. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is a touch which goes back to Ovid's <span class="tei tei-hi"><span style="font-style: italic">Metamorphoses</span></span>, vi. +619: <span class="tei tei-q">“Magnum quodcumque paravi: quid sit, adhuc dubito.”</span></p></dd><dt class="tei tei-notelabel"><a id="note_386" name="note_386" href="#noteref_386">386.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, V., 1, 129; V., 2, 143; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 2, +127-129 and 152-153; III., 6, 34; IV., 1, 104; IV., 4, 16; V., +3, 48; <span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, V., 1, 20; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 2, 14; +<span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, II., 1, 44; IV., 1, 38; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, III., +2, 59; III., 3, 26; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, II., 3, 82; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the +East</span></span>, I., 1, 95; I., 2, 148; II., 1, 158 and 334; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, II., +2, 84; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, V., 1, 39; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, III., 1, 67. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> +also <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, IV., 1, 46; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, III., 3, 79; IV., 2, +104. Hortensio <span class="tei tei-q">“kisses the ground”</span> in <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, III., +3, 124. This may merely mean to kneel (<span class="tei tei-hi"><span style="font-style: italic">cf. ibid.</span></span>, IV., 1, 168, +and <span class="tei tei-hi"><span style="font-style: italic">Thierry and Theodoret</span></span>, II., 3); but <span class="tei tei-hi"><span style="font-style: italic">cf. Roman Actor</span></span>, III., +2, 193.</dd><dt class="tei tei-notelabel"><a id="note_387" name="note_387" href="#noteref_387">387.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Old Law</span></span>, I., 1, 565;<span class="tei tei-hi"><span style="font-style: italic"> Believe as You List</span></span>, IV., 2, 58-60, +90-92; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 4, 11-13; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, II., 6, 13; +<span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, II., 4, 18; IV., 3, 127; <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., +1, 71; IV., 2, 151. Donusa, the Turkish princess, recommends +it in <span class="tei tei-hi"><span style="font-style: italic">The Renegado</span></span>, III., 2, 83. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, I., 3, +210-212.</dd><dt class="tei tei-notelabel"><a id="note_388" name="note_388" href="#noteref_388">388.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 1, 79-85; <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, V., 6, 40-54. +Fletcher is full of duels; thus the plot of <span class="tei tei-hi"><span style="font-style: italic">The Little French +Lawyer</span></span> in largely concerned with a duel. In <span class="tei tei-hi"><span style="font-style: italic">Love's Progress</span></span> +we have a duel in which the seconds fight; they want to do so +in <span class="tei tei-hi"><span style="font-style: italic">The Honest Man's Fortune</span></span>. In <span class="tei tei-hi"><span style="font-style: italic">Love's Cure</span></span>, V., 3, a duel +with seconds is commanded by the State. The illegality of +duels is referred to in <span class="tei tei-hi"><span style="font-style: italic">The Maid's Tragedy</span></span>, V., 4.</dd><dt class="tei tei-notelabel"><a id="note_389" name="note_389" href="#noteref_389">389.</a></dt><dd class="tei tei-notetext">It is true that this use is not confined to Massinger, being +a common idiom of the day. I quote the passages where the +word is not used in a religious sense: <span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, IV., +3, 81; <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1, 356; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, I., 3, 126; +V., 3, 135; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, 176; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, IV., 1, 154. For +Webster's similar use of the word <span class="tei tei-hi"><span style="font-style: italic">cf. The Duchess of Malfi</span></span>, p. +61<span class="tei tei-hi"><span style="font-style: italic">a</span></span>; <span class="tei tei-hi"><span style="font-style: italic">The White Devil</span></span>, pp. 29<span class="tei tei-hi"><span style="font-style: italic">b</span></span> and 47<span class="tei tei-hi"><span style="font-style: italic">a</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_390" name="note_390" href="#noteref_390">390.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, III., 3, 142; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 1. 87; +II., 1, 186; IV., 2, 85; <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, I., 1, 135; +III., 1, 14; V., 3, 10; <span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, V., 2, 187; <span class="tei tei-hi"><span style="font-style: italic">Parliament of +Love</span></span>, IV., 1, 8; IV., 4, 18; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 1, 53; III., 4, 6; +<span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., 2, 60; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 3, 176; II., 2, 158, 307; +V., 3, 47; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, I., 1, 74; III., 1, 221; V., 4, 18; +<span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, II., 1, 73, 147; III., 1, 28; III., 2, 82; +V., 3, 189; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, I., 2, 78; II., 4, 95. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Beggar's +Bush</span></span>, V., 2. Ford uses <span class="tei tei-q">“royal magnificence”</span> in the same +way in <span class="tei tei-hi"><span style="font-style: italic">Perkin Warbeck</span></span> (II., 1). In Ben Jonson's <span class="tei tei-hi"><span style="font-style: italic">Staple of +News</span></span> (IV., 1) we find <span class="tei tei-q">“very communicative and liberal, and +began to be magnificent.”</span> In Greene's <span class="tei tei-hi"><span style="font-style: italic">James IV</span></span>, I., 1: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Your mightiness is so magnificent,<br /> +You cannot choose but cast some gift apart. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The word <span class="tei tei-q">“munificent”</span> occurs in <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, IV., 2, 109.</p></dd><dt class="tei tei-notelabel"><a id="note_391" name="note_391" href="#noteref_391">391.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, IV., 3, 100; <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, II., 3, +49; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, IV., 3, 42; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, II., 3, 70; +<span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, V., 4, 231; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, IV., 1, 103; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, I., +1, 217; <span class="tei tei-hi"><span style="font-style: italic">cf. Prophetess</span></span>, IV., 6, 57.</dd><dt class="tei tei-notelabel"><a id="note_392" name="note_392" href="#noteref_392">392.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1, 251, 393; <span class="tei tei-hi"><span style="font-style: italic">Virgin Martyr</span></span>, III., 1, +28; IV., 3, 62; V., 2, 52; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, I., 1, 138; IV., 3, 159; +<span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, II., 2, 107 and 325; V., 1, 8.</dd><dt class="tei tei-notelabel"><a id="note_393" name="note_393" href="#noteref_393">393.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, III., 1, 358; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 3, 141; +<span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, IV., 1, 200; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 337; <span class="tei tei-hi"><span style="font-style: italic">Believe as You +List</span></span>, I., 2, 44. <span class="tei tei-hi"><span style="font-style: italic">Cf. Thierry and Theodoret</span></span>, II., 3.</dd><dt class="tei tei-notelabel"><a id="note_394" name="note_394" href="#noteref_394">394.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, V., 1, 37; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, V., 1, +115; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, IV., 1, 77; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, II., 1, 138; <span class="tei tei-hi"><span style="font-style: italic">Believe +as You List</span></span>, IV., 4, 30. <span class="tei tei-hi"><span style="font-style: italic">Cf. Cupid's Revenge</span></span>, II., 2, <span class="tei tei-hi"><span style="font-style: italic">ad finem</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_395" name="note_395" href="#noteref_395">395.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1, 283; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 3, 23. <span class="tei tei-hi"><span style="font-style: italic">Cf. +Prophetess</span></span>, II., 3, 1.</dd><dt class="tei tei-notelabel"><a id="note_396" name="note_396" href="#noteref_396">396.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, V., 2, 234; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, III., 2, 17; IV., +3, 34; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, V., 1, 221; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, 192; +III., 6, 17; V., 2, 132; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, III., 3, 88; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, III., +4, 46; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, II., 1, 288.</dd><dt class="tei tei-notelabel"><a id="note_397" name="note_397" href="#noteref_397">397.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, IV., 4, 93-95; V., 1, 14; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, +I., 2, 64; II., 1, 198; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, I., 3, 206; V., 2, 212; +<span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, II., 3, 94; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, II., 5, 59; V., 2, 52; +<span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, II., 1, 355; IV., 5, 106; <span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, III., +1, 75; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, III., 3, 33; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 3, 128; III., 5, +71. <span class="tei tei-hi"><span style="font-style: italic">Cf. Love's Cure</span></span>, I., 3.</dd><dt class="tei tei-notelabel"><a id="note_398" name="note_398" href="#noteref_398">398.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, IV., 4, 107; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, IV., 1, 121; +<span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, III., 2, 17; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, III., 6, 29; <span class="tei tei-hi"><span style="font-style: italic">Virgin +Martyr</span></span>, V., 2, 238; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, V., 3, 109; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, +II., 5, 159; <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, V., 2, 266. <span class="tei tei-hi"><span style="font-style: italic">Cf. Hamlet</span></span>, II., 2, +159; <span class="tei tei-hi"><span style="font-style: italic">Troilus and Cressida</span></span>, I., 3, 85. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Prophetess</span></span>, II., 1; +V., 2; <span class="tei tei-hi"><span style="font-style: italic">Spanish Curate</span></span>, I., 2; <span class="tei tei-hi"><span style="font-style: italic">Atheist's Tragedy</span></span>, IV., 4; <span class="tei tei-hi"><span style="font-style: italic">Honest +Whore</span></span>, IV., 1; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Bees</span></span>, char. vii.</dd><dt class="tei tei-notelabel"><a id="note_399" name="note_399" href="#noteref_399">399.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, I., 2, 75; <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, I., 1, 223; II., +1, 145; V., 2, 293; <span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, II., 1, 142; III., 1, +13; V., 3, 113; <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, V., 1, 102; <span class="tei tei-hi"><span style="font-style: italic">Believe as You +List</span></span>, I., 1, 73; I., 2, 147; II., 1, 65; III., 3, 143; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, +III., 2, 1; III., 3, 162; IV., 3, 6; V., 3, 156; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, III., +5, 44; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 1, 79; II., 2, 130 and 155; IV., 1, 65; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, +III., 6, 31; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, III., 4, 55; V., 3, 105; <span class="tei tei-hi"><span style="font-style: italic">A Very +Woman</span></span>, IV., 3, 210; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, II., 6, 19, and 50; IV., 2, +58; <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, II., 1, 178; III., 2, 116; V., 2, 67; <span class="tei tei-hi"><span style="font-style: italic">Duke of +Milan</span></span>, I., 1, 49; I., 3, 374; II., 1, 411; V., 2, 117.</dd><dt class="tei tei-notelabel"><a id="note_400" name="note_400" href="#noteref_400">400.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, III., 2, 94; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, V., 3, 144; <span class="tei tei-hi"><span style="font-style: italic">Parliament +of Love</span></span>, II., 2, 70. Bunyan has the phrase in <span class="tei tei-hi"><span style="font-style: italic">The Pilgrim's +Progress</span></span>, pt. ii.: <span class="tei tei-q">“They saw one Fool and one Want-Wit +washing of an Ethiopian with intention to make him white, +but the more they washed him, the blacker he was.”</span> Warner, +in his translation of <span class="tei tei-hi"><span style="font-style: italic">The Menaechmi</span></span> (1595), line 247, has <span class="tei tei-q">“This +is the washing of a Blackamore.”</span> The expression goes back +to Lucian <span class="tei tei-hi"><span style="font-style: italic">adv. Indoct.</span></span>, 28, Αἰθίοπα σμήχειν. It occurs in +<span class="tei tei-hi"><span style="font-style: italic">Love's Cure</span></span>, II., 2.</dd><dt class="tei tei-notelabel"><a id="note_401" name="note_401" href="#noteref_401">401.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, V., I, 349.</dd><dt class="tei tei-notelabel"><a id="note_402" name="note_402" href="#noteref_402">402.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, IV., 5, 213.</dd><dt class="tei tei-notelabel"><a id="note_403" name="note_403" href="#noteref_403">403.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, V., 3, 95. <span class="tei tei-hi"><span style="font-style: italic">Cf. Maid of Honour</span></span>, II., 2, 180; +<span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, IV., 1, 138; V., 1, 56; <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., 1, +52; III., 1, 81; <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, III., 3, 25.</dd><dt class="tei tei-notelabel"><a id="note_404" name="note_404" href="#noteref_404">404.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The Picture</span></span>, II., 1, 123.</dd><dt class="tei tei-notelabel"><a id="note_405" name="note_405" href="#noteref_405">405.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, I., 1, 404. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, +V., 1, 149. We cannot but remember poor Valentine's +prolonged but vocal agony in Gounod's opera.</dd><dt class="tei tei-notelabel"><a id="note_406" name="note_406" href="#noteref_406">406.</a></dt><dd class="tei tei-notetext">II., 1, 84.</dd><dt class="tei tei-notelabel"><a id="note_407" name="note_407" href="#noteref_407">407.</a></dt><dd class="tei tei-notetext">III., 2, 115.</dd><dt class="tei tei-notelabel"><a id="note_408" name="note_408" href="#noteref_408">408.</a></dt><dd class="tei tei-notetext">IV., 7, 72.</dd><dt class="tei tei-notelabel"><a id="note_409" name="note_409" href="#noteref_409">409.</a></dt><dd class="tei tei-notetext">Take as an example the death-bed scene in <span class="tei tei-hi"><span style="font-style: italic">The Spanish +Curate</span></span>, IV., 5.</dd><dt class="tei tei-notelabel"><a id="note_410" name="note_410" href="#noteref_410">410.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E. S.</span></span>, VIII., 2.</dd><dt class="tei tei-notelabel"><a id="note_411" name="note_411" href="#noteref_411">411.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Some idea of the way in which the two poets collaborated +may be obtained from the facts collected in <a href="#Appendix_III" class="tei tei-ref">Appendix III.</a> +Diderot, in a passage quoted by Twining, in his edition of +Aristotle's <span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span> (p. 253), recommends collaboration: <span class="tei tei-q">“On +seroit tenté de croire qu'un drame devrait être l'ouvrage de +deux hommes de génie, l'un qui arrangeât, et l'autre qui +fit parler”</span> (<span class="tei tei-hi"><span style="font-style: italic">De la Poés. Dram.</span></span>, p. 288). What Euripides +thought of the arrangement will be seen in The Andromache, +lines 476-77: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +τόνων θ᾽ ὕμνου συνεργάταιν δυοῖν<br /> +ἔριν Μοῦσαι φιλοῦσι κραίειν. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +It is clear that the early death of Beaumont was a disaster +to Fletcher.</p></dd><dt class="tei tei-notelabel"><a id="note_412" name="note_412" href="#noteref_412">412.</a></dt><dd class="tei tei-notetext">Massinger's only attempt at burlesque—Hilario in <span class="tei tei-hi"><span style="font-style: italic">The +Picture</span></span>—though ludicrous, is dramatically impossible.</dd><dt class="tei tei-notelabel"><a id="note_413" name="note_413" href="#noteref_413">413.</a></dt><dd class="tei tei-notetext">It is generally believed now that Marston wrote this +play. He was an author of surprising vigour, and a master +of strong English, but his taste is bad, and all his work lacks +finish.</dd><dt class="tei tei-notelabel"><a id="note_414" name="note_414" href="#noteref_414">414.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">D. N. B.</span></span>, <span class="tei tei-hi"><span style="font-style: italic">s.v.</span></span></dd><dt class="tei tei-notelabel"><a id="note_415" name="note_415" href="#noteref_415">415.</a></dt><dd class="tei tei-notetext">Dorothea's story of the King of Egypt (<span class="tei tei-hi"><span style="font-style: italic">Virgin Martyr</span></span>, +III., 1, 163-182) reminds us of an expedient familiar in Webster.</dd><dt class="tei tei-notelabel"><a id="note_416" name="note_416" href="#noteref_416">416.</a></dt><dd class="tei tei-notetext">IV., 8.</dd><dt class="tei tei-notelabel"><a id="note_417" name="note_417" href="#noteref_417">417.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Epicoene</span></span>, IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_418" name="note_418" href="#noteref_418">418.</a></dt><dd class="tei tei-notetext">II., 3.</dd><dt class="tei tei-notelabel"><a id="note_419" name="note_419" href="#noteref_419">419.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The Devil is an Ass</span></span>, IV., 1. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> the light touch of Massinger +when dealing with the toilet of a lady in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, +I., 1, 30-59.</dd><dt class="tei tei-notelabel"><a id="note_420" name="note_420" href="#noteref_420">420.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Staple of News</span></span>, I., 1; III., 1—<span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, I., 1, +118; III., 2, 58.</dd><dt class="tei tei-notelabel"><a id="note_421" name="note_421" href="#noteref_421">421.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, I., 2—<span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, II., 1, 51.</dd><dt class="tei tei-notelabel"><a id="note_422" name="note_422" href="#noteref_422">422.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, II., 1—<span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, IV., 2, 103. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Alchemist</span></span>, +IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_423" name="note_423" href="#noteref_423">423.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, IV., 1—<span class="tei tei-hi"><span style="font-style: italic">passim</span></span> in Massinger.</dd><dt class="tei tei-notelabel"><a id="note_424" name="note_424" href="#noteref_424">424.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, IV., 1—<span class="tei tei-hi"><span style="font-style: italic">passim</span></span> in Massinger.</dd><dt class="tei tei-notelabel"><a id="note_425" name="note_425" href="#noteref_425">425.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, IV., 1—<span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, IV., 5, 12.</dd><dt class="tei tei-notelabel"><a id="note_426" name="note_426" href="#noteref_426">426.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, IV., 1—<span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, I., 1, 31.</dd><dt class="tei tei-notelabel"><a id="note_427" name="note_427" href="#noteref_427">427.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Ibid.</span></span>, IV., 1—<span class="tei tei-hi"><span style="font-style: italic">New Way</span></span>, I., 2, 25. (<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Prologue +to <span class="tei tei-hi"><span style="font-style: italic">A Wife for a Month</span></span>.)</dd><dt class="tei tei-notelabel"><a id="note_428" name="note_428" href="#noteref_428">428.</a></dt><dd class="tei tei-notetext">IV., 5—<span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, IV., 1, 155; <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, +V., 2, 17.</dd><dt class="tei tei-notelabel"><a id="note_429" name="note_429" href="#noteref_429">429.</a></dt><dd class="tei tei-notetext">III., 2—<span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 3, 95.</dd><dt class="tei tei-notelabel"><a id="note_430" name="note_430" href="#noteref_430">430.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Sejanus</span></span>, V., 7—<span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, V., 2, 61.</dd><dt class="tei tei-notelabel"><a id="note_431" name="note_431" href="#noteref_431">431.</a></dt><dd class="tei tei-notetext">Courthope lays far too much stress on Massinger's imitation +of the Morality (<span class="tei tei-hi"><span style="font-style: italic">History of English Poetry</span></span>, vol. iv., p. 352). +It only appears in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_432" name="note_432" href="#noteref_432">432.</a></dt><dd class="tei tei-notetext">There are no signs in Massinger of literary or other private +quarrels. One or two passages seem to be inspired by sarcasm +directed on the gossip of the day—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, III., 2, +18-55.</dd><dt class="tei tei-notelabel"><a id="note_433" name="note_433" href="#noteref_433">433.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Stress is laid more than once on Massinger's modesty in +the commendatory verses from his friends. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Sir Thomas +Jay's verses prefixed to <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, and Prologue to <span class="tei tei-hi"><span style="font-style: italic">A Very +Woman</span></span>, lines 5, 6; Prologue to <span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>, line 4. This +feature may account for a lack of worldly wisdom and self-assertion, +which prevented him from reaping the full fruits +of the fame which he deserved as Fletcher's collaborator in so +many plays. Gerard Langbaine, in his <span class="tei tei-hi"><span style="font-style: italic">Account of the English +Dramatic Poets</span></span> (Oxford, 1691), pp. 353-60, deals thus with +Massinger: <span class="tei tei-q">“He was extremely beloved by the poets of that +age, and there were few but what took it as an honour to club +with him in a play—witness Middleton, Rowley, Field, and +Dekker, all which join'd with him in several labours. Nay +further, to shew his excellency, the ingenious Fletcher took +him in as a partner in several plays. He was a man of much +modesty and extraordinary parts.”</span> In <span class="tei tei-hi"><span style="font-style: italic">The New Year's Gift</span></span> +to his patroness, to be found in MS. in the library of Trinity +College, Dublin, we have an indication that Massinger was +ashamed of the profession of author; we read (lines 19-21): +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Nor slight it, Madam, since what some in me<br /> +Esteem a blemish, is a gift as free<br /> +As their best fortunes. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The last lines of the poem (43-46) show the familiar combination +of modesty and independence: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +What I give I am rich in, and can spare;<br /> +Nor part for hope with aught deserves my care;<br /> +He that hath little and gives nought at all<br /> +To them that have, is truly liberal. +</p></dd><dt class="tei tei-notelabel"><a id="note_434" name="note_434" href="#noteref_434">434.</a></dt><dd class="tei tei-notetext">There are some fine friendships in Massinger—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>, Charalois +and Romont in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>; Farnese and Uberti in +<span class="tei tei-hi"><span style="font-style: italic">The Bashful Lover</span></span>; Cleremond and Montrose in <span class="tei tei-hi"><span style="font-style: italic">The Parliament +of Love</span></span>; Antoninus and Macrinus in <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>; +Pedro and Antonio in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_435" name="note_435" href="#noteref_435">435.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> the Prologues to <span class="tei tei-hi"><span style="font-style: italic">The Guardian</span></span> and <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the +East</span></span>. He speaks with feeling of the ungratefulness of +courtiers. (<span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, V., 1, 52; <span class="tei tei-hi"><span style="font-style: italic">Maid of Honour</span></span>, II., 2, +110.)</dd><dt class="tei tei-notelabel"><a id="note_436" name="note_436" href="#noteref_436">436.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 255; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, I., 3, 300; <span class="tei tei-hi"><span style="font-style: italic">Unnatural +Combat</span></span>, I., 1, 404; <span class="tei tei-hi"><span style="font-style: italic">Bashful Lover</span></span>, I., 1, 34; <span class="tei tei-hi"><span style="font-style: italic">Great Duke of +Florence</span></span>, II., 1, 138; <span class="tei tei-hi"><span style="font-style: italic">Sir J. V. O. Barnavelt</span></span>, I., 1 (p. 215, +Bullen's Old Plays); also the character of the Captain in <span class="tei tei-hi"><span style="font-style: italic">A +Very Woman</span></span>. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Knight of Malta</span></span>, III., 2.</dd><dt class="tei tei-notelabel"><a id="note_437" name="note_437" href="#noteref_437">437.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Very significant are the words of Paulo in <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span> +(IV., 1, 153): +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Who fights<br /> +With passions, and o'ercomes them is endued<br /> +With the best virtue, passive fortitude. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 1, 118; III., 1, 113; <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, III., +1, 73; and <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, I., 1, 79: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +All that I challenge<br /> +Is manly patience. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Sejanus</span></span>, quoted above, p. 115, n. 11. <span class="tei tei-hi"><span style="font-style: italic">Queen of Corinth</span></span>, +III, 2: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Euphanes.</span></span> To shew the passive fortitude the best. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And <span class="tei tei-hi"><span style="font-style: italic">Lover's Progress</span></span>, IV., 4: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">alcidon.</span></span> With all care put on<br /> +The surest armour, anvil'd in the shop<br /> +Of passive fortitude. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +This point is emphasized in Swinburne's excellent sonnet on +Massinger.</p></dd><dt class="tei tei-notelabel"><a id="note_438" name="note_438" href="#noteref_438">438.</a></dt><dd class="tei tei-notetext">IV., 2, 17-31, where Charalois declares, <span class="tei tei-q">“I never was an +enemy to 't [<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, music], Beaumont,”</span> and ends by saying: +<span class="tei tei-q">“I love it to the worth of 't and no further.”</span></dd><dt class="tei tei-notelabel"><a id="note_439" name="note_439" href="#noteref_439">439.</a></dt><dd class="tei tei-notetext">I., 1.</dd><dt class="tei tei-notelabel"><a id="note_440" name="note_440" href="#noteref_440">440.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also V., 2, 130-37.</dd><dt class="tei tei-notelabel"><a id="note_441" name="note_441" href="#noteref_441">441.</a></dt><dd class="tei tei-notetext">IV., 2, 1-14.</dd><dt class="tei tei-notelabel"><a id="note_442" name="note_442" href="#noteref_442">442.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Massinger has some notable compound epithets from time +to time; take as examples, <span class="tei tei-q">“pale-cheek'd stars”</span> in <span class="tei tei-hi"><span style="font-style: italic">Parliament +of Love</span></span>, IV., 2, 61; <span class="tei tei-q">“on black-sail'd wings of loose and base +desires,”</span> <span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, V., 1, 215; <span class="tei tei-q">“Such is my full-sail'd +confidence in her virtue,”</span> <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, II., 2, 318; <span class="tei tei-q">“the +brass-leaved book of fate,”</span> <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, I., 2, 136. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Your must and will<br /> +Shall in your full-sailed confidence deceive you,”</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, II., 2, 21.</p></dd><dt class="tei tei-notelabel"><a id="note_443" name="note_443" href="#noteref_443">443.</a></dt><dd class="tei tei-notetext">We find not a few assonances and alliterations in Massinger, +generally contained in two words: <span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, I., +2, 16, <span class="tei tei-q">“gallows and galleys”</span>; (<span class="tei tei-hi"><span style="font-style: italic">Cf. Renegado</span></span>, V., 2, 162, +<span class="tei tei-q">“the gallies or the gallows,”</span> and Webster's <span class="tei tei-hi"><span style="font-style: italic">White Devil</span></span>, +p. 11a); <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, Prologue 14, <span class="tei tei-q">“toss'd and +turned”</span>; <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., 1, 109, <span class="tei tei-q">“sue and send”</span>; +<span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, IV., 1, 37, <span class="tei tei-q">“sway and swing”</span> (so in +<span class="tei tei-hi"><span style="font-style: italic">Great Duke of Florence</span></span>, II., 2, 46); <span class="tei tei-hi"><span style="font-style: italic">Fatal Dowry</span></span>, IV., 1, +193, <span class="tei tei-q">“confessor and confounder”</span>; <span class="tei tei-hi"><span style="font-style: italic">Old Law</span></span>, III., 2, 45, <span class="tei tei-q">“die +and dye”</span>; <span class="tei tei-hi"><span style="font-style: italic">ibid.</span></span>, 157, <span class="tei tei-q">“venues in Venice glasses”</span>; IV., 1, 61, +<span class="tei tei-q">“Siren and Hiren”</span>; <span class="tei tei-hi"><span style="font-style: italic">City Madam</span></span>, I., 1, 36, <span class="tei tei-q">“hole and hell”</span>; +V., 2, 77, <span class="tei tei-q">“lords or lowns”</span>; <span class="tei tei-hi"><span style="font-style: italic">Guardian</span></span>, I., 1, 60, <span class="tei tei-q">“house and +home”</span>; II., 2, 23, <span class="tei tei-q">“board and bed”</span>; II., 5, 46, <span class="tei tei-q">“fair and +free”</span>; III., 5, 76, <span class="tei tei-q">“page or porter”</span>; <span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, IV., 1, 65, +<span class="tei tei-q">“horns and horror”</span>; <span class="tei tei-hi"><span style="font-style: italic">Bondman</span></span>, II., 1, 119, <span class="tei tei-q">“hell and horror”</span>; +<span class="tei tei-hi"><span style="font-style: italic">Roman Actor</span></span>, I., 4, 63, <span class="tei tei-q">“graced and greased”</span>; II., 1, 376, +<span class="tei tei-q">“carke and caring”</span>; <span class="tei tei-hi"><span style="font-style: italic">Renegado</span></span>, III., 4, 54, <span class="tei tei-q">“toss and touse”</span>; +<span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, II., 1, 8, <span class="tei tei-q">“tractable and tactable”</span>; +<span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, III., 1, 199, <span class="tei tei-q">“palm or privilege”</span>; III., 2, 46, +<span class="tei tei-q">“curvet or caper.”</span></dd><dt class="tei tei-notelabel"><a id="note_444" name="note_444" href="#noteref_444">444.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Johnson's Preface to Shakspere (p. 19), <span class="tei tei-q">“A quibble +is to Shakspere what luminous vapours are to the traveller; +he follows it at all adventures; it is sure to lead him out of +his way, and sure to engulf him in the mire.”</span> The whole +paragraph is worth reading.</dd><dt class="tei tei-notelabel"><a id="note_445" name="note_445" href="#noteref_445">445.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., 3, 22; II., 1, 31, etc. The repetition of +Graccho's name in <span class="tei tei-hi"><span style="font-style: italic">Duke of Milan</span></span>, V., 1, is intentional and effective. +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Kitely's repetition of <span class="tei tei-q">“Thomas”</span> in <span class="tei tei-hi"><span style="font-style: italic">Every Man in +His Humour</span></span>, III., 2; <span class="tei tei-q">“Sir Michael”</span> in <span class="tei tei-hi"><span style="font-style: italic">1 Henry IV</span></span>, IV., 4, +and <span class="tei tei-q">“Sir Thomas”</span> in <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span>, V., 1.</dd><dt class="tei tei-notelabel"><a id="note_446" name="note_446" href="#noteref_446">446.</a></dt><dd class="tei tei-notetext">Boyle (<span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, 371-372), severe as he is on Massinger's +characters, both male and female, agrees with this verdict. +He traces the unjust depreciation of Massinger in part to +Charles Lamb's <span class="tei tei-q">“unfair judgment.”</span> <span class="tei tei-q">“The hard fate that +accompanied the 'stage poet' through life has clung to him up +to the present time, and in spite of warm advocates, like Gifford +and Cunningham, prevented him from occupying his legitimate +position as a dramatist immediately after Shakspere.”</span></dd><dt class="tei tei-notelabel"><a id="note_447" name="note_447" href="#noteref_447">447.</a></dt><dd class="tei tei-notetext">Preface, p. lvii. of Monck Mason's edition.</dd><dt class="tei tei-notelabel"><a id="note_448" name="note_448" href="#noteref_448">448.</a></dt><dd class="tei tei-notetext">For another explanation, see <a href="#Appendix_X" class="tei tei-ref">Appendix X</a>.</dd><dt class="tei tei-notelabel"><a id="note_449" name="note_449" href="#noteref_449">449.</a></dt><dd class="tei tei-notetext">Alinda, the heroine of Fletcher's <span class="tei tei-hi"><span style="font-style: italic">Pilgrim</span></span>, is equally indiscriminate +in her bounty (Act I., 1, 2). We may compare +J. Taylor's <span class="tei tei-hi"><span style="font-style: italic">Holy Living</span></span>, Sec. VIII., Alms: <span class="tei tei-q">“Trust not your +alms to intermedial uncertain and under-dispensers.”</span></dd><dt class="tei tei-notelabel"><a id="note_450" name="note_450" href="#noteref_450">450.</a></dt><dd class="tei tei-notetext">Where did he get her name from? A lady of the name +is a subordinate character in Hroswitha's <span class="tei tei-hi"><span style="font-style: italic">Gallicanus</span></span>. The +plays of Hroswitha have obvious affinities with <span class="tei tei-hi"><span style="font-style: italic">The Virgin +Martyr</span></span>, but I cannot trace any other indications of borrowing.</dd><dt class="tei tei-notelabel"><a id="note_451" name="note_451" href="#noteref_451">451.</a></dt><dd class="tei tei-notetext">Brander Matthews, as a fellow-countryman of Jay Gould +and Rockefeller, is well qualified to estimate Sir Giles Overreach; +he points out that he is an instance of what the French +call, <span class="tei tei-q">“l'homme fort.”</span> The part has been taken by many of our +great actors, notably Garrick, who revived it in 1745. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> +W. Hazlitt's <span class="tei tei-hi"><span style="font-style: italic">Dramatic Essays</span></span> for the performances of Kean and +Kemble in 1816 (pp. 78-80, 91-92, 97-100). The two great actors +had a different conception of Sir Giles; and Hazlitt is very +severe upon Kemble. Kean was at Drury Lane, Kemble at +Covent Garden.</dd><dt class="tei tei-notelabel"><a id="note_452" name="note_452" href="#noteref_452">452.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> II., 1, 81 and 88.</dd><dt class="tei tei-notelabel"><a id="note_453" name="note_453" href="#noteref_453">453.</a></dt><dd class="tei tei-notetext">I., 1, 146.</dd><dt class="tei tei-notelabel"><a id="note_454" name="note_454" href="#noteref_454">454.</a></dt><dd class="tei tei-notetext">III., 1, 72.</dd><dt class="tei tei-notelabel"><a id="note_455" name="note_455" href="#noteref_455">455.</a></dt><dd class="tei tei-notetext">See the Dedication: <span class="tei tei-q">“I ever held this the most perfect birth +of my Minerva.”</span> It was printed in 1629. It is interesting to +compare it with <span class="tei tei-hi"><span style="font-style: italic">The Cardinal</span></span>, for which Shirley had a similar +affection.</dd><dt class="tei tei-notelabel"><a id="note_456" name="note_456" href="#noteref_456">456.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Domitian's speech in II., 1, 160-168; and that of +Rusticus in III., 2, 59-68.</dd><dt class="tei tei-notelabel"><a id="note_457" name="note_457" href="#noteref_457">457.</a></dt><dd class="tei tei-notetext">As, for instance, Paris' speech in I., 1, 21-26, and +Stephanos' words in V., 1, 99-101.</dd><dt class="tei tei-notelabel"><a id="note_458" name="note_458" href="#noteref_458">458.</a></dt><dd class="tei tei-notetext">I., 4, where the Imperial princesses push one another about +in seeking for a front place in the street as Domitian passes, +is an example of this fault. We have already referred to the +difficulties which are involved in the infliction of torture on +the stage, as in III., 2. Again, it is improbable that the actors +should have been waiting, as in IV., 1, outside the private +gardens, ready to perform the very play which suited Domitian's +purpose. We are also disconcerted to find the ghosts in Act +V., 1, stealing the bust of Minerva. (<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span>, however, Virgil +<span class="tei tei-hi"><span style="font-style: italic">Æneid</span></span>, II., 294.)</dd><dt class="tei tei-notelabel"><a id="note_459" name="note_459" href="#noteref_459">459.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Prologue 2, 7: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +In each part,<br /> +With his best of fancy, judgment, language, art,<br /> +Fashion'd and form'd so, as might well, and may<br /> +Deserve a welcome, and no vulgar way. +</p></dd><dt class="tei tei-notelabel"><a id="note_460" name="note_460" href="#noteref_460">460.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> IV., 1, 28, and IV., 5, 216.</dd><dt class="tei tei-notelabel"><a id="note_461" name="note_461" href="#noteref_461">461.</a></dt><dd class="tei tei-notetext">I., 2.</dd><dt class="tei tei-notelabel"><a id="note_462" name="note_462" href="#noteref_462">462.</a></dt><dd class="tei tei-notetext">The way in which the apple circulates reminds us of the +Umbrana in Beaumont's amusing <span class="tei tei-hi"><span style="font-style: italic">Woman-Hater</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_463" name="note_463" href="#noteref_463">463.</a></dt><dd class="tei tei-notetext">The reference to an architect in IV., 2, 178, suggests +that in the first draft of the play Paulo had appeared in that +character.</dd><dt class="tei tei-notelabel"><a id="note_464" name="note_464" href="#noteref_464">464.</a></dt><dd class="tei tei-notetext">IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_465" name="note_465" href="#noteref_465">465.</a></dt><dd class="tei tei-notetext">III., 1.</dd><dt class="tei tei-notelabel"><a id="note_466" name="note_466" href="#noteref_466">466.</a></dt><dd class="tei tei-notetext">III., 4.</dd><dt class="tei tei-notelabel"><a id="note_467" name="note_467" href="#noteref_467">467.</a></dt><dd class="tei tei-notetext">IV., 3.</dd><dt class="tei tei-notelabel"><a id="note_468" name="note_468" href="#noteref_468">468.</a></dt><dd class="tei tei-notetext">III., 2, 69.</dd><dt class="tei tei-notelabel"><a id="note_469" name="note_469" href="#noteref_469">469.</a></dt><dd class="tei tei-notetext">IV., 1, 17.</dd><dt class="tei tei-notelabel"><a id="note_470" name="note_470" href="#noteref_470">470.</a></dt><dd class="tei tei-notetext">IV., 3, 196; V., 3, 53.</dd><dt class="tei tei-notelabel"><a id="note_471" name="note_471" href="#noteref_471">471.</a></dt><dd class="tei tei-notetext">V., 5, 42.</dd><dt class="tei tei-notelabel"><a id="note_472" name="note_472" href="#noteref_472">472.</a></dt><dd class="tei tei-notetext">III., 1, 162.</dd><dt class="tei tei-notelabel"><a id="note_473" name="note_473" href="#noteref_473">473.</a></dt><dd class="tei tei-notetext">V., 5.</dd><dt class="tei tei-notelabel"><a id="note_474" name="note_474" href="#noteref_474">474.</a></dt><dd class="tei tei-notetext">II., 1, 35.</dd><dt class="tei tei-notelabel"><a id="note_475" name="note_475" href="#noteref_475">475.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Virgin Martyr</span></span>, I., 1, 405 and V., 2, 4.</dd><dt class="tei tei-notelabel"><a id="note_476" name="note_476" href="#noteref_476">476.</a></dt><dd class="tei tei-notetext">Epilogue, line 9.</dd><dt class="tei tei-notelabel"><a id="note_477" name="note_477" href="#noteref_477">477.</a></dt><dd class="tei tei-notetext">There is too much kneeling in this play; Hortensio kneels, +I., 1, 200; Matilda, III., 3, 60 and 123; Lorenzo, IV., 1, 167; +Matilda again, IV., 1, 184; Alonzo and Pisano, V., 1, 180; +Matilda again, V., 3, 101; the Ambassador, V., 3, 169.</dd><dt class="tei tei-notelabel"><a id="note_478" name="note_478" href="#noteref_478">478.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">I.e.</span></span>, the <span class="tei tei-q">“emphatic”</span> double ending. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> II., 4, 21; II., +6, 51; II., 7, 69: III., 1, 114; IV., 3, 81; IV, 3, 155.</dd><dt class="tei tei-notelabel"><a id="note_479" name="note_479" href="#noteref_479">479.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">N. S. S.</span></span>, p. 393.</dd><dt class="tei tei-notelabel"><a id="note_480" name="note_480" href="#noteref_480">480.</a></dt><dd class="tei tei-notetext">The disappointment which we feel at Camiola's lot may be +paralleled by Bellario in <span class="tei tei-hi"><span style="font-style: italic">Philaster</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_481" name="note_481" href="#noteref_481">481.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">The City Madam</span></span> was printed in 1658. Perhaps this +accounts for Colley Gibber's statement that Massinger died in +1659. The editor of the play, Andrew Pennycuicke, <span class="tei tei-q">“one of +the actors,”</span> being, as the name would seem to imply, a canny +Scot, dedicated the first edition <span class="tei tei-q">“to the truly noble John North +Esquire,”</span> and the second, <span class="tei tei-hi"><span style="font-style: italic">totidem verbis</span></span>, <span class="tei tei-q">“to the truly noble +and virtuous Lady Anne, Countess of Oxford.”</span> I owe this +fact to the kindness of Mr. P. Simpson. It is to be noted +that both editions read <span class="tei tei-q">“out-conquered,”</span> whereas Cunningham +has printed <span class="tei tei-q">“not-conquered.”</span></dd><dt class="tei tei-notelabel"><a id="note_482" name="note_482" href="#noteref_482">482.</a></dt><dd class="tei tei-notetext">Hilario is Massinger's one attempt at the Shaksperian +<span class="tei tei-q">“fool”</span>; but what a contrast there is between Hilario and +Touchstone or Feste!</dd><dt class="tei tei-notelabel"><a id="note_483" name="note_483" href="#noteref_483">483.</a></dt><dd class="tei tei-notetext">Dekker's word.</dd><dt class="tei tei-notelabel"><a id="note_484" name="note_484" href="#noteref_484">484.</a></dt><dd class="tei tei-notetext">II., 1, 20.</dd><dt class="tei tei-notelabel"><a id="note_485" name="note_485" href="#noteref_485">485.</a></dt><dd class="tei tei-notetext">Notice the skill with which Sforza, in I., 3, works up to his +unexpected and terrible request.</dd><dt class="tei tei-notelabel"><a id="note_486" name="note_486" href="#noteref_486">486.</a></dt><dd class="tei tei-notetext">A clever passage is that where Francisco points out that +nothing succeeds like success (IV., 1, 16-36).</dd><dt class="tei tei-notelabel"><a id="note_487" name="note_487" href="#noteref_487">487.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">V., 2, 256. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> IV., 2, 75: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Hold but thy nature, Duke, and be but rash,<br /> +And violent enough. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also I., 2, 30; I., 3, 369; III., 3, 252.</p></dd><dt class="tei tei-notelabel"><a id="note_488" name="note_488" href="#noteref_488">488.</a></dt><dd class="tei tei-notetext">I., 1, 111-125.</dd><dt class="tei tei-notelabel"><a id="note_489" name="note_489" href="#noteref_489">489.</a></dt><dd class="tei tei-notetext">III., 3.</dd><dt class="tei tei-notelabel"><a id="note_490" name="note_490" href="#noteref_490">490.</a></dt><dd class="tei tei-notetext">II., 1, 121.</dd><dt class="tei tei-notelabel"><a id="note_491" name="note_491" href="#noteref_491">491.</a></dt><dd class="tei tei-notetext">Though Rowe behaved badly in concealing his theft from +Massinger, the critics have been unfair to his play. It is very +instructive to compare the simple structure of <span class="tei tei-hi"><span style="font-style: italic">The Fair Penitent</span></span>, +written on French lines, with the larger scheme and wealth +of incident in <span class="tei tei-hi"><span style="font-style: italic">The Fatal Dowry</span></span>. We are reminded of the contrast +between an English and a Dutch garden. After all, some +people prefer their yew-trees cut into cocks and hens, while +others do not. I can imagine a being who would prefer +Gounod's <span class="tei tei-hi"><span style="font-style: italic">Romeo and Juliet</span></span> to Shakspere's. In <span class="tei tei-hi"><span style="font-style: italic">The Fair +Penitent</span></span>, the law-court scene, the father's funeral, and the +music-master disappear. We get the <span class="tei tei-q">“gay Lothario”</span> from +this once popular play. Mr. Phelan (p. 60) has properly +pointed out that <span class="tei tei-q">“for Lothario we entertain a latent regard, +for his elegant and gallant bearing,”</span> whereas Novall, junr., +<span class="tei tei-q">“is not calculated to gain love.”</span> In other words, while +Massinger's moral is superior, Rowe is more true to life. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> +some interesting remarks by Hazlitt (<span class="tei tei-hi"><span style="font-style: italic">Dramatic Essays</span></span>, pp. 93-95) +on Rowe's play and Miss O'Neill as Calista.</dd><dt class="tei tei-notelabel"><a id="note_492" name="note_492" href="#noteref_492">492.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Unnatural Combat</span></span>, III., 2, 144, and Fletcher, <span class="tei tei-hi"><span style="font-style: italic">passim</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_493" name="note_493" href="#noteref_493">493.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> I., 1, 203.</dd><dt class="tei tei-notelabel"><a id="note_494" name="note_494" href="#noteref_494">494.</a></dt><dd class="tei tei-notetext">Novall never meant to marry Beaumelle. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> IV., 1, +100; V., 2, 264.</dd><dt class="tei tei-notelabel"><a id="note_495" name="note_495" href="#noteref_495">495.</a></dt><dd class="tei tei-notetext">For a discussion of the authorship of the play, see <a href="#Appendix_XI" class="tei tei-ref">Appendix +XI</a>.</dd><dt class="tei tei-notelabel"><a id="note_496" name="note_496" href="#noteref_496">496.</a></dt><dd class="tei tei-notetext">There is much in Act III. of <span class="tei tei-hi"><span style="font-style: italic">A King and No King</span></span> which +reminds us of Malefort's passion; but Massinger is a better +moralist than the authors of that brilliant play.</dd><dt class="tei tei-notelabel"><a id="note_497" name="note_497" href="#noteref_497">497.</a></dt><dd class="tei tei-notetext">Beaufort senior's words in III., 2, 32-41, should, however, +be carefully observed.</dd><dt class="tei tei-notelabel"><a id="note_498" name="note_498" href="#noteref_498">498.</a></dt><dd class="tei tei-notetext">IV., 2, 87. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span>, however, Sir John Van Olden Barnavelt, +III., 2.</dd><dt class="tei tei-notelabel"><a id="note_499" name="note_499" href="#noteref_499">499.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">E.g.</span></span>, Charles's speech about Cupid, V., 1, 33-60.</dd><dt class="tei tei-notelabel"><a id="note_500" name="note_500" href="#noteref_500">500.</a></dt><dd class="tei tei-notetext">Act V. We must allow that Cleremond and Leonora +are too long-winded.</dd><dt class="tei tei-notelabel"><a id="note_501" name="note_501" href="#noteref_501">501.</a></dt><dd class="tei tei-notetext">We may conjecture that the missing part of Act I. contained +(<span class="tei tei-hi"><span style="font-style: italic">a</span></span>) a scene in which <span class="tei tei-q">“three citizens”</span> described the +situation, and the absence of the King; (<span class="tei tei-hi"><span style="font-style: italic">b</span></span>) a scene of love-making +between Cleremond and Leonora, containing the incident +referred to in II., 2, 93-100; (<span class="tei tei-hi"><span style="font-style: italic">c</span></span>) a scene in which Beaupré +obtained Chamont's protection, and asked for an introduction +to Bellisant (<span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> V., 1, 470). Bellisant may also have appeared +before I., 4, as her denunciations of the gallants are referred +to in II., 1, 23. And Bellisant knows in III., 3, 145, that Clarindore +had <span class="tei tei-q">“cast off”</span> Beaupré. Clarindore is the sort of man +who might have boasted of this.</dd><dt class="tei tei-notelabel"><a id="note_502" name="note_502" href="#noteref_502">502.</a></dt><dd class="tei tei-notetext">V., 1, 520. Massinger did not like people who cannot keep +a secret. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">A Very Woman</span></span>, IV., 2, 142.</dd><dt class="tei tei-notelabel"><a id="note_503" name="note_503" href="#noteref_503">503.</a></dt><dd class="tei tei-notetext">For a fuller discussion of this play and the MS., see +Appendixes <a href="#Appendix_VII" class="tei tei-ref">VII.</a> and <a href="#Appendix_VIII" class="tei tei-ref">VIII.</a></dd><dt class="tei tei-notelabel"><a id="note_504" name="note_504" href="#noteref_504">504.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Poetics</span></span>, 1451<span class="tei tei-hi"><span style="font-style: italic">a</span></span>, 16, 1451<span class="tei tei-hi"><span style="font-style: italic">b</span></span>, 34.</dd><dt class="tei tei-notelabel"><a id="note_505" name="note_505" href="#noteref_505">505.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Touches which remind one of Massinger occur, but they +are few and far between—<span class="tei tei-hi"><span style="font-style: italic">e.g.</span></span>: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 30-70, reminds us of him here and there. (The same +applies to Cleanthes' speech, I., 1, 323-345.) +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1, 248: <span class="tei tei-q">“personal opposition.”</span> (<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, +IV., 2, 98.) +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1,362: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Cleanthes.</span></span> How do you fare, sir? +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Leonides.</span></span> Cleanthes, never better. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +(In the <span class="tei tei-hi"><span style="font-style: italic">Henry VIII</span></span> manner.) +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1, 41-61: The first courtier's speech. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 2, 73-94: Lysander's speech. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +IV., 2, 1-130: see especially lines 3, 41, 72, 109. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 54-82. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 119-132: Lysander's speech. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 156-175. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +V., 1, 232-250: Cleanthes' speech. (Notice the parenthesis in +lines 246-7.) +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The play is usually assigned to 1599, on the strength of the +passage where Gnotho gets the clerk to alter the Parish +Chronicle (III., 1). Gayley thinks the mention of 1599 +<span class="tei tei-q">“purely dramatic”</span> (<span class="tei tei-hi"><span style="font-style: italic">R. E. C.</span></span>, III., p. lv). He says the style +is not like that of Middleton in 1599, and points out that +Rowley was only fourteen years of age in that year. <span class="tei tei-q">“If +Massinger had any share in the play, it was in revision, after +Middleton's death in 1627.”</span> Gayley dates the play 1614-16. +It must be pointed out, however, that it is not easy to alter +40 to 39. The author could have chosen a date whose figures +were more easy to deal with. I therefore think the usually +accepted date is right, though it does not, of course, settle the +question of authorship. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Massinger was fond of scenes in courts of justice, and it is +highly probable that he elaborated the details of Act V.</p></dd><dt class="tei tei-notelabel"><a id="note_506" name="note_506" href="#noteref_506">506.</a></dt><dd class="tei tei-notetext">We find <span class="tei tei-q">“horror”</span> in IV., 2, 72 and 160; a certain number +of the alliterations referred to above (p. 121), I., 1, 66; II., 1, +210, 265; II., 2, 119; V., 1, 546, 550, 605, 650; and words +doubled (I., 1, 67, 88, 206, 220, 268, 354, 389; II., 1, 154, 275; +II., 2, 91; III., 1, 304, 363).</dd><dt class="tei tei-notelabel"><a id="note_507" name="note_507" href="#noteref_507">507.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>, IV., 1; <span class="tei tei-hi"><span style="font-style: italic">Love's Triumph through +Callipolis</span></span>; Peele's <span class="tei tei-hi"><span style="font-style: italic">Battle of Alcazar</span></span>.</dd><dt class="tei tei-notelabel"><a id="note_508" name="note_508" href="#noteref_508">508.</a></dt><dd class="tei tei-notetext">Dodsley's <span class="tei tei-hi"><span style="font-style: italic">Old Plays</span></span>, vol. x. (Hazlitt).</dd><dt class="tei tei-notelabel"><a id="note_509" name="note_509" href="#noteref_509">509.</a></dt><dd class="tei tei-notetext">There is a good edition of <span class="tei tei-hi"><span style="font-style: italic">A New Way to pay Old Debts</span></span> by +K. Deighton (G. Bell, 1893). Brander Matthews has also +edited the play, prefixing a valuable estimate of the poet.</dd><dt class="tei tei-notelabel"><a id="note_510" name="note_510" href="#noteref_510">510.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">V., 3, 148: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +O Philanax, as thy name<br /> +Interpreted speaks thee, thou hast ever been<br /> +A lover of the King. +</p></dd><dt class="tei tei-notelabel"><a id="note_511" name="note_511" href="#noteref_511">511.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Picture</span></span>, I., 1, 6.</dd><dt class="tei tei-notelabel"><a id="note_512" name="note_512" href="#noteref_512">512.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">III., 1, 7. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Ben Jonson's <span class="tei tei-hi"><span style="font-style: italic">Staple of News</span></span>, IV., 4 +Pennyboy junior: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Thou appears't<br /> +κατ᾽ ἐξοχήν, a canter. +</p></dd><dt class="tei tei-notelabel"><a id="note_513" name="note_513" href="#noteref_513">513.</a></dt><dd class="tei tei-notetext">III., 1, 102-3.</dd><dt class="tei tei-notelabel"><a id="note_514" name="note_514" href="#noteref_514">514.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Emperor of the East</span></span>, II., 1, 278 and 294.</dd><dt class="tei tei-notelabel"><a id="note_515" name="note_515" href="#noteref_515">515.</a></dt><dd class="tei tei-notetext">III., 4, 40.</dd><dt class="tei tei-notelabel"><a id="note_516" name="note_516" href="#noteref_516">516.</a></dt><dd class="tei tei-notetext">σκάνδικά μοι δός, μητρόθεν δεδεγμένος. (l. 478).</dd><dt class="tei tei-notelabel"><a id="note_517" name="note_517" href="#noteref_517">517.</a></dt><dd class="tei tei-notetext">II., 5, 96.</dd><dt class="tei tei-notelabel"><a id="note_518" name="note_518" href="#noteref_518">518.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Telephus frag., 722: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Σπάρταν ἔλαχες, κείνην κόσμει;<br /> +τὰς δὲ Μυκήνας ἡμεῖς ἰδίᾳ. +</p></dd><dt class="tei tei-notelabel"><a id="note_519" name="note_519" href="#noteref_519">519.</a></dt><dd class="tei tei-notetext">V., 1, 5.</dd><dt class="tei tei-notelabel"><a id="note_520" name="note_520" href="#noteref_520">520.</a></dt><dd class="tei tei-notetext">ὡς γραφεύς τ᾽ ἀποσταθείς.</dd><dt class="tei tei-notelabel"><a id="note_521" name="note_521" href="#noteref_521">521.</a></dt><dd class="tei tei-notetext">IV., 5, 61.</dd><dt class="tei tei-notelabel"><a id="note_522" name="note_522" href="#noteref_522">522.</a></dt><dd class="tei tei-notetext">ἐπὶ δὲ καρδίαν ἔδραμε κροκοβαφὴς σταγών (l. 1121).</dd><dt class="tei tei-notelabel"><a id="note_523" name="note_523" href="#noteref_523">523.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Shakspere's England</span></span>, Vol. I., ix., <span class="tei tei-q">“Scholarship,”</span> by +Sir J. E. Sandys.</dd><dt class="tei tei-notelabel"><a id="note_524" name="note_524" href="#noteref_524">524.</a></dt><dd class="tei tei-notetext">It may be noted that the end of <span class="tei tei-hi"><span style="font-style: italic">The Knight of Malta</span></span> is +modelled on the last scene of the <span class="tei tei-hi"><span style="font-style: italic">Alcestis</span></span>. The play has been +attributed in part to Massinger, but the fact cited, though +interesting, does not prove acquaintance either on the part +of Fletcher or Massinger with Greek at first hand.</dd><dt class="tei tei-notelabel"><a id="note_525" name="note_525" href="#noteref_525">525.</a></dt><dd class="tei tei-notetext">III., 1., 92-106.</dd><dt class="tei tei-notelabel"><a id="note_526" name="note_526" href="#noteref_526">526.</a></dt><dd class="tei tei-notetext">IV., 2.</dd><dt class="tei tei-notelabel"><a id="note_527" name="note_527" href="#noteref_527">527.</a></dt><dd class="tei tei-notetext">IV., 3.</dd><dt class="tei tei-notelabel"><a id="note_528" name="note_528" href="#noteref_528">528.</a></dt><dd class="tei tei-notetext">II., 5.</dd><dt class="tei tei-notelabel"><a id="note_529" name="note_529" href="#noteref_529">529.</a></dt><dd class="tei tei-notetext">I have not succeeded in finding the passage referred to.</dd><dt class="tei tei-notelabel"><a id="note_530" name="note_530" href="#noteref_530">530.</a></dt><dd class="tei tei-notetext">I., 1, 47. (Chreocopia, in I., 1, 54, may be scanned with +the accent on the penultimate.)</dd><dt class="tei tei-notelabel"><a id="note_531" name="note_531" href="#noteref_531">531.</a></dt><dd class="tei tei-notetext">I., 2, 21 and 29; III., 2, 110. Eudocia in <span class="tei tei-hi"><span style="font-style: italic">The Emperor +of the East</span></span> is more doubtful. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> IV., 5, 83; V., 1, 122; V., 2, +105; V., 3, 170.</dd><dt class="tei tei-notelabel"><a id="note_532" name="note_532" href="#noteref_532">532.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Notice that in all these false quantities the stress is laid +on the syllable which bears the Greek accent; that is to say, +the words are scanned as a Byzantine Greek of the time would +have pronounced them. <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> in Marlowe's <span class="tei tei-hi"><span style="font-style: italic">Tamburlaine</span></span>, +Pt. II., IV., 4: <span class="tei tei-q">“As in the theoria of the world.”</span> A similar +suggestion is anonymously made in <span class="tei tei-hi"><span style="font-style: italic">The Times Literary +Supplement</span></span>, March 20th, 1919, for another line of Marlowe: +<span class="tei tei-q">“Our Pythagôras' Metempsýchosis.”</span> +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Academy,”</span> in <span class="tei tei-hi"><span style="font-style: italic">The Emperor of the East</span></span>, I., 1, 45, seems +accented on the last syllable.</p></dd><dt class="tei tei-notelabel"><a id="note_533" name="note_533" href="#noteref_533">533.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> p. 19, n. 2.</dd><dt class="tei tei-notelabel"><a id="note_534" name="note_534" href="#noteref_534">534.</a></dt><dd class="tei tei-notetext">Boyle's ascription is in each case printed first; M. signifies +the portions of each play which he allots to Massinger. +A. H. B. = Mr. Bullen, A. H. C. = the writer. Macaulay's +views will be found in <span class="tei tei-hi"><span style="font-style: italic">The Cambridge History of English +Literature</span></span>, vol. vi., Appendix to Chapter V.</dd><dt class="tei tei-notelabel"><a id="note_535" name="note_535" href="#noteref_535">535.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">R. E. C.</span></span>, p. lxxxii.</dd><dt class="tei tei-notelabel"><a id="note_536" name="note_536" href="#noteref_536">536.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">R. E. C.</span></span>, pp. lxxxiii-lxxxiv.</dd><dt class="tei tei-notelabel"><a id="note_537" name="note_537" href="#noteref_537">537.</a></dt><dd class="tei tei-notetext">In particular G. Hill's poem deserves attention.</dd><dt class="tei tei-notelabel"><a id="note_538" name="note_538" href="#noteref_538">538.</a></dt><dd class="tei tei-notetext">I have read with interest and care E. H. C. Oliphant's +articles in <span class="tei tei-hi"><span style="font-style: italic">Englische Studien</span></span> (xiv., xv., xvi.). He finds more +work of Beaumont in the plays than other scholars. Though +his knowledge of the whole subject is great, his analysis +seems to me too subtle; thus in <span class="tei tei-hi"><span style="font-style: italic">The Fair Maid of the Inn</span></span> we +find, according to Mr. Oliphant, scenes written by (1) Massinger, +(2) Massinger and Rowley, (3) Beaumont and Massinger, +(4) Beaumont, Fletcher, and Massinger. Fletcher's part in +the play is ultimately reduced to a few lines in IV., 1! I +cannot agree with him that Massinger wrote any of <span class="tei tei-hi"><span style="font-style: italic">The +Coxcomb</span></span>, <span class="tei tei-hi"><span style="font-style: italic">The Faithful Friends</span></span>, or <span class="tei tei-hi"><span style="font-style: italic">Love's Pilgrimage</span></span>. In +<span class="tei tei-hi"><span style="font-style: italic">The Faithful Friends</span></span> the metre is very careless, and the occasional +bursts of bombast are not like Massinger. There are +touches of his style in the play, which suggest that a pupil +may have helped Fletcher. <span class="tei tei-hi"><span style="font-style: italic">The Coxcomb</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Love's Pilgrimage</span></span> +seem to me very characteristic works of Beaumont +and Fletcher. Mr. Oliphant has also discovered (<span class="tei tei-hi"><span style="font-style: italic">Modern +Language Review</span></span>, III., pp. 337-355) that Massinger wrote a +considerable portion of <span class="tei tei-hi"><span style="font-style: italic">The Tempest</span></span> and <span class="tei tei-hi"><span style="font-style: italic">Cymbeline</span></span>. It is +not long since that we were reminded, in other departments +of art, of Lucas and Leonardo, of Ozias Humfrey and +Romney. The critical scent which Mr. Oliphant requires of +his readers postulates a super-dog careering through the +literary thickets of the English language. Let us rather read +and enjoy our composite plays, without meticulous analysis.</dd><dt class="tei tei-notelabel"><a id="note_539" name="note_539" href="#noteref_539">539.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">A Woman killed with Kindness</span></span>, III., 1: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +And in this ground, increased this molehill<br /> +Unto that mountain which my father left me. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">The Maid in the Mill</span></span>, V., 2, Bustopha: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Oh mountain, shalt thou call a molehill a scab upon the face of the earth? +</p></dd><dt class="tei tei-notelabel"><a id="note_540" name="note_540" href="#noteref_540">540.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">False One</span></span>, III., 1, 28: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +Let indirect and crooked counsels vanish. +</p></dd><dt class="tei tei-notelabel"><a id="note_541" name="note_541" href="#noteref_541">541.</a></dt><dd class="tei tei-notetext">Compare also <span class="tei tei-hi"><span style="font-style: italic">Eastward Ho!</span></span> Act II.: <span class="tei tei-hi"><span style="font-variant: small-caps">Golding.</span></span> Let me +beseech you, no, sir: the superfluity and cold meat left at +their nuptials will with bounty furnish ours.—Act III., 2: +<span class="tei tei-hi"><span style="font-variant: small-caps">Quicksilver.</span></span> Your father, and some one more, stole to +church with them in all the haste, that the cold meat left at +your wedding might serve to furnish their nuptial table.</dd><dt class="tei tei-notelabel"><a id="note_542" name="note_542" href="#noteref_542">542.</a></dt><dd class="tei tei-notetext">For this frequent effect in Homer <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">Iliad</span></span>, I., lines 100, 103, +132, 139, 144, 160, 184, 195, etc. In the <span class="tei tei-hi"><span style="font-style: italic">Agamemnon</span></span> and +<span class="tei tei-hi"><span style="font-style: italic">Alcestis</span></span>, to take no other plays, note the following: <span class="tei tei-hi"><span style="font-style: italic">Agamemnon</span></span> +15, 1047, 1079, 1123; <span class="tei tei-hi"><span style="font-style: italic">Alcestis</span></span>, 154, 181, 203, 339, 347, 619.</dd><dt class="tei tei-notelabel"><a id="note_543" name="note_543" href="#noteref_543">543.</a></dt><dd class="tei tei-notetext">The quadrisyllabic scansion of such a word as <span class="tei tei-q">“remission”</span> +(<span class="tei tei-hi"><span style="font-style: italic">Parliament of Love</span></span>, II., 2, 107) has not, in my opinion, any +metrical significance in Massinger. It is, indeed, very frequently +found, so frequently as to be no criterion of his style. +I fancy that it may be more often found in passages which he +wrote against time, or when his head was tired.</dd><dt class="tei tei-notelabel"><a id="note_544" name="note_544" href="#noteref_544">544.</a></dt><dd class="tei tei-notetext">Page <a href="#Pg059" class="tei tei-ref">59</a>, n. 1.</dd><dt class="tei tei-notelabel"><a id="note_545" name="note_545" href="#noteref_545">545.</a></dt><dd class="tei tei-notetext">The autograph and Herbert's Imprimatur are reproduced +in facsimile in the Percy Society volume. But would Massinger +have referred to himself as <span class="tei tei-hi"><span style="font-style: italic">Mr.</span></span> Massenger [<span class="tei tei-hi"><span style="font-style: italic">sic</span></span>]?</dd><dt class="tei tei-notelabel"><a id="note_546" name="note_546" href="#noteref_546">546.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Apology</span></span>, ii. 203. C. Cibber, in a list of dramatic authors, +makes reference to Massinger's plays. He says: <span class="tei tei-q">“Mr. Massinger, +I believe, was author of several other dramatic pieces: +one I have seen in MS., which I am assured was acted, by the +proper quotations, etc. The title runs thus: <span class="tei tei-q">‘Believe as you +list, written by Mr. Massinger, with the following licence: +<span class="tei tei-q">“This play, called <span class="tei tei-q">‘Believe as you list,’</span> may be acted this +6th of May, 1631. Henry Herbert.”</span> ’</span> ”</span> Malone (<span class="tei tei-hi"><span style="font-style: italic">Shakspere</span></span>, +vol. iii., p. 230) gives the date (<span class="tei tei-hi"><span style="font-style: italic">i.e.</span></span>, of the actual performance +as May 7th, 1631.</dd><dt class="tei tei-notelabel"><a id="note_547" name="note_547" href="#noteref_547">547.</a></dt><dd class="tei tei-notetext">The references are as follows: II., 2, 368; III., 1, 20; +IV., 3, initial stage direction.</dd><dt class="tei tei-notelabel"><a id="note_548" name="note_548" href="#noteref_548">548.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Beside the Henslow document there are to be seen at +Dulwich College four signatures of Massinger, in a beautiful +clear hand; three of these are attached to leases of Alleyn's, +and the fourth is added to Daborne's signature to the document +mentioned by Cunningham in his Preface (p. xii.). The poem +<span class="tei tei-q">“<span class="tei tei-hi"><span style="font-style: italic">Sero sed serio</span></span>”</span> is to be found in B.M. Royal MSS. XVIII., +A. 20. The signature is identical with the Dulwich signatures. +The poem itself is in another hand, with many flourishes. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +The only reason for supposing it to be the poet's, besides his +poverty, is an erasure in line 14, which runs thus: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +then<br /> +Being,^silent then, +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +which looks like a correction made by the author himself, +<span class="tei tei-foreign"><span style="font-style: italic">currente calamo</span></span>. The hand of <span class="tei tei-hi"><span style="font-style: italic">The Second Maiden's Tragedy</span></span> +does not resemble that of <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>. The hand of +<span class="tei tei-hi"><span style="font-style: italic">Sir John Van Olden Barnavelt</span></span> is uniform throughout. It is +neat and full of flourishes, especially in the letter L. It is, +of course, possible that Massinger wrote this in 1619. The +stage directions are in a bolder hand and deep black ink. +They are plainly part of the MS., and not later insertions like +those in <span class="tei tei-hi"><span style="font-style: italic">Believe as You List</span></span>. I incline to think the writing +is all due to an amanuensis. There is very little correction +in the play, except that several long passages are very thoroughly +scrawled out.</p></dd><dt class="tei tei-notelabel"><a id="note_549" name="note_549" href="#noteref_549">549.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Appendix VIII.: I., 1, 26; I., 2, 186; II., 1, 51; II., 2, +217; II., 2, 368; III., 1, 20; IV., 3, stage direction.</dd><dt class="tei tei-notelabel"><a id="note_550" name="note_550" href="#noteref_550">550.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Appendix VIII.: I., 1, 60; I., 2, 67; I., 2, 72; II., 2, +52; II., 2, 56; III., 3, 151; III., 3, 234; IV., 1, 7.</dd><dt class="tei tei-notelabel"><a id="note_551" name="note_551" href="#noteref_551">551.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Appendix VIII.: II., 2, 285; IV., 1, 5; IV., 3, 44.</dd><dt class="tei tei-notelabel"><a id="note_552" name="note_552" href="#noteref_552">552.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Appendix VIII.: II., 2, 98; II., 2, 240; III., 3, 166; +IV., 4, 45.</dd><dt class="tei tei-notelabel"><a id="note_553" name="note_553" href="#noteref_553">553.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> p. 15, n. 1.</dd><dt class="tei tei-notelabel"><a id="note_554" name="note_554" href="#noteref_554">554.</a></dt><dd class="tei tei-notetext">Koeppel (<span class="tei tei-hi"><span style="font-style: italic">Quellen-Studien</span></span>) traces the story to P. V. P. +Cayet's <span class="tei tei-hi"><span style="font-style: italic">Chronologie Septenaire</span></span>, Paris, 1605. He does not +seem to have consulted <span class="tei tei-hi"><span style="font-style: italic">The Strangest Adventure</span></span>, a copy of +which may be seen in the British Museum. <span class="tei tei-hi"><span style="font-style: italic">The True History +of the Late and Lamentable Adventures of D. S.</span></span> (London, 1602) +begins with the imprisonment at Naples, and agrees with +Cayet almost verbally until the latter part. <span class="tei tei-hi"><span style="font-style: italic">The Continuation +of the Lamentable Adventures</span></span> (London, 1603) is very dull, +and contributes nothing except the advice of an old man to +Sebastian, which may have suggested the first scene of the play. +The two tracts are to be found in Harleian Miscellany +(iv., 403; v., 443). <span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> also Scott-Saintsbury's <span class="tei tei-hi"><span style="font-style: italic">Dryden</span></span>, vii., +p. 309, <span class="tei tei-hi"><span style="font-style: italic">n.</span></span> The English pamphlets are based on the <span class="tei tei-hi"><span style="font-style: italic">Aventure +Amirable</span></span>, published in 1601. (<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Bullen's <span class="tei tei-hi"><span style="font-style: italic">Peele</span></span>, i, 227.) +Massinger must have used Cayet for the incidents in the +latter part of the play.</dd><dt class="tei tei-notelabel"><a id="note_555" name="note_555" href="#noteref_555">555.</a></dt><dd class="tei tei-notetext">After Berecinthius says <span class="tei tei-q">“His stature! speech!”</span> in I., 2, +186.</dd><dt class="tei tei-notelabel"><a id="note_556" name="note_556" href="#noteref_556">556.</a></dt><dd class="tei tei-notetext">I., 2, 187.</dd><dt class="tei tei-notelabel"><a id="note_557" name="note_557" href="#noteref_557">557.</a></dt><dd class="tei tei-notetext">I., 2, 188.</dd><dt class="tei tei-notelabel"><a id="note_558" name="note_558" href="#noteref_558">558.</a></dt><dd class="tei tei-notetext">I., 2, 189.</dd><dt class="tei tei-notelabel"><a id="note_559" name="note_559" href="#noteref_559">559.</a></dt><dd class="tei tei-notetext">The <span class="tei tei-q">“Austrian lip”</span> is one of the features Mistress Carol +ascribes to Fairfield in Shirley's <span class="tei tei-hi"><span style="font-style: italic">Hyde Park</span></span> (III., 2).</dd><dt class="tei tei-notelabel"><a id="note_560" name="note_560" href="#noteref_560">560.</a></dt><dd class="tei tei-notetext">I., 2, 186.</dd><dt class="tei tei-notelabel"><a id="note_561" name="note_561" href="#noteref_561">561.</a></dt><dd class="tei tei-notetext">I., 1, 64.</dd><dt class="tei tei-notelabel"><a id="note_562" name="note_562" href="#noteref_562">562.</a></dt><dd class="tei tei-notetext">I., 1, 135.</dd><dt class="tei tei-notelabel"><a id="note_563" name="note_563" href="#noteref_563">563.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Shakespeare Society's Papers</span></span>, vol. iv., art. xiv.</dd><dt class="tei tei-notelabel"><a id="note_564" name="note_564" href="#noteref_564">564.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Shakespeare Society's Papers</span></span>, p. 138.</dd><dt class="tei tei-notelabel"><a id="note_565" name="note_565" href="#noteref_565">565.</a></dt><dd class="tei tei-notetext">Famous names. <span class="tei tei-q">“Taylor acted Hamlet incomparably +well.”</span> Colley Cibber's <span class="tei tei-hi"><span style="font-style: italic">Apology</span></span>, 2, 142</dd><dt class="tei tei-notelabel"><a id="note_566" name="note_566" href="#noteref_566">566.</a></dt><dd class="tei tei-notetext">V., 2, 139.</dd><dt class="tei tei-notelabel"><a id="note_567" name="note_567" href="#noteref_567">567.</a></dt><dd class="tei tei-notetext">See p. 180, n. 1, and <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Alchemist</span></span>, IV., 1.</dd><dt class="tei tei-notelabel"><a id="note_568" name="note_568" href="#noteref_568">568.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">The Sea Voyage</span></span>, III. 1.</dd><dt class="tei tei-notelabel"><a id="note_569" name="note_569" href="#noteref_569">569.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> 178, n. 6.</dd><dt class="tei tei-notelabel"><a id="note_570" name="note_570" href="#noteref_570">570.</a></dt><dd class="tei tei-notetext">For repetition of a word <span class="tei tei-hi"><span style="font-style: italic">cf.</span></span> II., 3, 51; III., 2, 31; III., 3, +105; IV., 5, 27, 45, 85, 98, 142.</dd><dt class="tei tei-notelabel"><a id="note_571" name="note_571" href="#noteref_571">571.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">The line would make better sense if it were emended thus: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I'll have no other penance <span class="tei tei-hi"><span style="font-style: italic">than</span></span> to practise,<br /> +To find some means that he deserves thee best. +</p></dd><dt class="tei tei-notelabel"><a id="note_572" name="note_572" href="#noteref_572">572.</a></dt><dd class="tei tei-notetext">Mr. Bullen (vol. iv., App., p. 381) shows that the play was +produced in August, 1619, after some objections had been +raised to it by the Bishop of London.</dd><dt class="tei tei-notelabel"><a id="note_573" name="note_573" href="#noteref_573">573.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Old Plays</span></span>, vol. ii., App. 2, contains much information +from Boyle about Massinger's style. <span class="tei tei-hi"><span style="font-style: italic">Inter alia</span></span>, he says, +<span class="tei tei-q">“Fletcher as usual spoiled Massinger's fine conception of +Barnavelt, and made him whine like Buckingham in <span class="tei tei-hi"><span style="font-style: italic">Henry +VIII</span></span>.”</span></dd><dt class="tei tei-notelabel"><a id="note_574" name="note_574" href="#noteref_574">574.</a></dt><dd class="tei tei-notetext">It is also to be found in Dodsley's <span class="tei tei-hi"><span style="font-style: italic">Old English Plays</span></span>, ed. +W. C. Hazlitt, 1875, vol. x.</dd><dt class="tei tei-notelabel"><a id="note_575" name="note_575" href="#noteref_575">575.</a></dt><dd class="tei tei-notetext">The name Goffe is so carefully obliterated that it is +uncertain; but it is curious to note that Goffe and Massinger +are in juxtaposition in the passage of <span class="tei tei-hi"><span style="font-style: italic">Don Zara del Fogo</span></span> +referred to <span class="tei tei-hi"><span style="font-style: italic">supra</span></span>, p. 77 n. 3.</dd><dt class="tei tei-notelabel"><a id="note_576" name="note_576" href="#noteref_576">576.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Supra</span></span>, p. <a href="#Pg074" class="tei tei-ref">74</a>.</dd><dt class="tei tei-notelabel"><a id="note_577" name="note_577" href="#noteref_577">577.</a></dt><dd class="tei tei-notetext">Mr. Phelan (pp. 48-49) argues that this play is really the +lost play by Massinger, entitled <span class="tei tei-hi"><span style="font-style: italic">The Tyrant</span></span>. Tieck translated +the play as being by Massinger. Mr. P. Simpson has pointed +out to me that <span class="tei tei-hi"><span style="font-style: italic">The Second Maiden's Tragedy</span></span> is entered on +the Stationers' Register for September 9th, 1653, immediately +after several of Massinger's plays. He justly observes +that the juxtaposition is fortuitous.</dd><dt class="tei tei-notelabel"><a id="note_578" name="note_578" href="#noteref_578">578.</a></dt><dd class="tei tei-notetext">Act IV., 4.</dd><dt class="tei tei-notelabel"><a id="note_579" name="note_579" href="#noteref_579">579.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> Phelan, <span class="tei tei-hi"><span style="font-style: italic">op. cit.</span></span>, p. 3.</dd><dt class="tei tei-notelabel"><a id="note_580" name="note_580" href="#noteref_580">580.</a></dt><dd class="tei tei-notetext">Sir A. W. Ward (II., 528<span class="tei tei-hi"><span style="vertical-align: super">2</span></span>) seems disposed to assign it to +Shirley.</dd><dt class="tei tei-notelabel"><a id="note_581" name="note_581" href="#noteref_581">581.</a></dt><dd class="tei tei-notetext">Compare this with the scene in Ford's <span class="tei tei-hi"><span style="font-style: italic">'Tis Pity She's a +Whore</span></span> where Annabella gives the Friar a letter from an upper +window.</dd><dt class="tei tei-notelabel"><a id="note_582" name="note_582" href="#noteref_582">582.</a></dt><dd class="tei tei-notetext"><p class="tei tei-p" style="margin-bottom: 1.00em">Compare <span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, I., 1: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +What trick is not an embryon at first? +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-q">“Embryon”</span> is a favourite word of Massinger's. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +I., 1: <span class="tei tei-hi"><span style="font-variant: small-caps">Witgood.</span></span> I shall go nigh to catch that old fox, +mine Uncle; though he make but some amends for my undoing, +yet there's some comfort in't, he cannot otherwise +choose, though it be but in hope to cozen me again, but supply +any hasty want that I bring to town with me. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1: <span class="tei tei-hi"><span style="font-variant: small-caps">Lucre.</span></span> There may be hope some of the widow's +lands too may one day fall upon me if things be carried wisely.</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, IV., 1, 77: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Overreach.</span></span> 'Tis not alone<br /> +The Lady Allworth's land, for these once Wellborn's,<br /> +As by her dotage on him I know they will be,<br /> +Shall soon be mine. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, I., 2: <span class="tei tei-hi"><span style="font-variant: small-caps">Witgood.</span></span> Thou knowest I have a wealthy +uncle, i' th' city, somewhat the wealthier for my follies. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, I., 3: <span class="tei tei-hi"><span style="font-variant: small-caps">Hoard.</span></span> Thou that canst defeat thy own +nephew, Lucre, lay his lands into bonds, and take the extremity +of thy kindred's forfeitures. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, I., 1, 48: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Tapwell.</span></span> Which your uncle, Sir Giles Overreach, observing<br /> +(Resolving not to lose a drop of them)<br /> +On foolish mortgages, statutes, and bonds,<br /> +For a while supplied your looseness, and then left you. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +II., 1, 81: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Overreach.</span></span> And 'tis my glory, though I come from the city,<br /> +To have their issue whom I have undone,<br /> +To kneel to mine as bondslaves. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, II., 1: Lucre. You've a fault, nephew; you're a +stranger here; well, heaven give you joy. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, III., 2, 276: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Overreach.</span></span> My nephew!<br /> +He has been too long a stranger; faith you have!<br /> +Pray, let it be mended. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, III., 1: I would forswear ... muscadine and eggs +at midnight. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, IV., 2, 84: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Creditor.</span></span> Your worship broke me<br /> +With trusting you with muscadine and eggs. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, IV., 4: Hoard's anticipations of his future pomp +may have suggested the thoughts which Sir Giles entertains +about his daughter's future estate when married to Lord Lovel. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">Cf.</span></span> <span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, IV., 3, 130-141. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A Trick</span></span>, IV., 5: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Sir Launcelot.</span></span> I would entreat your worship's device in a just and honest cause, sir. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Dampit.</span></span> I meddle with no such matters. +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-style: italic">A New Way</span></span>, II., 1, 23: +</p> +<p class="tei tei-p" style="margin-bottom: 1.00em"> +<span class="tei tei-hi"><span style="font-variant: small-caps">Overreach.</span></span> The other wisdom,<br /> +That does prescribe us a well-governed life,<br /> +And to do right to others, as ourselves,<br /> +I value not an atom. +</p></dd><dt class="tei tei-notelabel"><a id="note_583" name="note_583" href="#noteref_583">583.</a></dt><dd class="tei tei-notetext">Compare the way in which Massinger, in <span class="tei tei-hi"><span style="font-style: italic">The Great Duke +of Florence</span></span>, transfers to Italy <span class="tei tei-hi"><span style="font-style: italic">A Knacke to Know a Knave</span></span>. +(Hazlitt's <span class="tei tei-hi"><span style="font-style: italic">Dodsley</span></span>, vi.)</dd><dt class="tei tei-notelabel"><a id="note_584" name="note_584" href="#noteref_584">584.</a></dt><dd class="tei tei-notetext">Lines in another hand inserted in a space left blank at the +top of p. 555.</dd><dt class="tei tei-notelabel"><a id="note_585" name="note_585" href="#noteref_585">585.</a></dt><dd class="tei tei-notetext">Marginal note in a third hand.</dd><dt class="tei tei-notelabel"><a id="note_586" name="note_586" href="#noteref_586">586.</a></dt><dd class="tei tei-notetext"><span class="tei tei-hi"><span style="font-style: italic">I.e.</span></span>, precedents.</dd><dt class="tei tei-notelabel"><a id="note_587" name="note_587" href="#noteref_587">587.</a></dt><dd class="tei tei-notetext">To take.</dd><dt class="tei tei-notelabel"><a id="note_588" name="note_588" href="#noteref_588">588.</a></dt><dd class="tei tei-notetext">In the Malone copy in the Bodleian line 23 has disappeared, +and at the end of line 22 rather less of the letters +is preserved than at the beginning.</dd><dt class="tei tei-notelabel"><a id="note_589" name="note_589" href="#noteref_589">589.</a></dt><dd class="tei tei-notetext">The misprint is in the original.</dd><dt class="tei tei-notelabel"><a id="note_590" name="note_590" href="#noteref_590">590.</a></dt><dd class="tei tei-notetext">Add references in Letters, edited by C. Ainger, vol. i., +pp. 23, 24, 136, 154.</dd></dl> + </div> + <hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 5.00em; margin-top: 5.00em"> + <div id="pgfooter" class="tei tei-div" style="margin-bottom: 4.00em; margin-top: 4.00em"><pre class="pre tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em">***END OF THE PROJECT GUTENBERG EBOOK PHILIP MASSINGER*** +</pre><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader51" id="rightpageheader51"></a><a name="pgtoc52" id="pgtoc52"></a><a name="pdf53" id="pdf53"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">Credits</span></h1><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr><th class="tei tei-label tei-label-gloss">February 23, 2011 </th></tr><tr><td class="tei tei-item tei-item-gloss"><table summary="This is a list." class="tei tei-list" style="margin-bottom: 1.00em; margin-top: 1.00em"><tbody><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item">Project Gutenberg TEI edition 1</td></tr><tr class="tei tei-labelitem"><th class="tei tei-label"></th><td class="tei tei-item"><span class="tei tei-respStmt"> + <span class="tei tei-name"> + Produced by Robert Cicconetti, David King, and the Online + Distributed Proofreading Team at <http://www.pgdp.net/>. + (This file was produced from images generously made + available by The Internet Archive/Canadian Libraries.) + + </span> + </span></td></tr></tbody></table></td></tr></tbody></table></div><hr class="doublepage" /><div class="tei tei-div" style="margin-bottom: 3.00em; margin-top: 3.00em"><a name="rightpageheader54" id="rightpageheader54"></a><a name="pgtoc55" id="pgtoc55"></a><a name="pdf56" id="pdf56"></a><h1 class="tei tei-head" style="text-align: left; margin-bottom: 3.46em; margin-top: 3.46em"><span style="font-size: 173%">A Word from Project Gutenberg</span></h1><p class="tei tei-p" style="margin-bottom: 1.00em">This file should be named + 35365-h.html or + 35365-h.zip.</p><p class="tei tei-p" style="margin-bottom: 1.00em">This and all associated files of various formats will be found + in: + + <a href="http://www.gutenberg.org/dirs/3/5/3/6/35365/" class="block tei tei-xref" style="margin-bottom: 1.80em; margin-left: 3.60em; margin-top: 1.80em; margin-right: 3.60em"><span style="font-size: 90%">http://www.gutenberg.org</span><span style="font-size: 90%">/dirs/3/5/3/6/35365/</span></a></p><p class="tei tei-p" style="margin-bottom: 1.00em">Updated editions will replace the previous one — the old + editions will be renamed.</p><p class="tei tei-p" style="margin-bottom: 1.00em">Creating the works from public domain print editions means that + no one owns a United States copyright in these works, so the + Foundation (and you!) can copy and distribute it in the United + States without permission and without paying copyright royalties. + Special rules, set forth in the General Terms of Use part of this + license, apply to copying and distributing Project Gutenberg™ electronic works + to protect the Project Gutenberg™ concept and trademark. 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