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+The Project Gutenberg EBook of The Life and Death of Doctor Faustus Made
+into a Farce, by William  Mountfort
+
+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 included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Life and Death of Doctor Faustus Made into a Farce
+
+Author: William  Mountfort
+
+Editor: Anthony Kaufman
+
+Release Date: September 14, 2011 [EBook #37422]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE LIFE AND DEATH OF DOCTOR ***
+
+
+
+
+Produced by Chris Curnow, Katie Hernandez, Joseph Cooper
+and the Online Distributed Proofreading Team at
+http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+
+To H. T. Swedenberg,
+Junior _founder_, _protector_, _friend_
+
+[Illustration: _He that delights to_ Plant _and_ Set, _Makes_ After-Ages
+_in his_ Debt.]
+
+    Where could they find another formed so fit,
+    To poise, with solid sense, a sprightly wit?
+    Were these both wanting, as they both abound,
+    Where could so firm integrity be found?
+
+
+The verse and emblem are from George Wither, _A Collection of Emblems,
+Ancient and Modern_ (London, 1635), illustration xxxv, page 35.
+
+The lines of poetry (123-126) are from "To My Honoured Kinsman John
+Driden," in John Dryden, _The Works of John Dryden_, ed. Sir Walter
+Scott, rev. and corr. George Saintsbury (Edinburgh: William Patterson,
+1885), xi, 78.
+
+
+THE AUGUSTAN REPRINT SOCIETY
+
+WILLIAM MOUNTFORT
+
+The LIFE and DEATH of _Doctor Faustus_ Made into a FARCE
+
+(1697)
+
+_Introduction by_ ANTHONY KAUFMAN
+
+PUBLICATION NUMBER 157
+
+WILLIAM ANDREWS CLARK MEMORIAL LIBRARY
+
+UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+1973
+
+
+
+
+GENERAL EDITORS
+
+    William E. Conway, William Andrews Clark Memorial Library
+    George Robert Guffey, University of California, Los Angeles
+    Maximillian E. Novak, University of California, Los Angeles
+    David S. Rodes, University of California, Los Angeles
+
+
+ADVISORY EDITORS
+
+    Richard C. Boys, University of Michigan
+    James L. Clifford, Columbia University
+    Ralph Cohen, University of Virginia
+    Vinton A. Dearing, University of California, Los Angeles
+    Arthur Friedman, University of Chicago
+    Louis A. Landa, Princeton University
+    Earl Miner, Princeton University
+    Samuel H. Monk, University of Minnesota
+    Everett T. Moore, University of California, Los Angeles
+    Lawrence Clark Powell, William Andrews Clark Memorial Library
+    James Sutherland, University College, London
+    H. T. Swedenberg, Jr., University of California, Los Angeles
+    Robert Vosper, William Andrews Clark Memorial Library
+    Carl A. Zimansky, State University of Iowa
+
+
+CORRESPONDING SECRETARY
+
+Edna C. Davis, William Andrews Clark Memorial Library
+
+
+EDITORIAL ASSISTANT
+
+Jean T. Shebanek, William Andrews Clark Memorial Library
+
+Typography by Wm. M. Cheney
+
+
+
+
+INTRODUCTION
+
+
+According to "Some Account of the Life of Mr. W. Mountfort" prefixed to
+the collected plays of 1720, William Mountfort, successful playwright
+and actor, was born "the Son of Captain _Mountfort_, a Gentleman of a
+good Family in _Staffordshire_; and he spent the greatest Part of his
+Younger Years in that County, without being bred up to any Employment."
+Since "his Gaiety of Temper and Airy Disposition ... could not be easily
+restrain'd to the solitary Amusements of a Rural Life,"[1] he set out to
+make his fortune in London, and was employed by the Duke's Company at
+the Dorset Garden Theater. First notice of him appears in the part of
+the "boy" in _The Counterfeits_, attributed to John Leanerd, and
+produced in May, 1678.[2]
+
+Mountfort was to win notice as an actor in the part of Talboy in Brome's
+_The Jovial Crew_, where as a rejected lover he was called upon for
+storms of comic tears. In his _Apology_, Cibber praises Mountfort in
+this part: "in his Youth, he had acted Low Humour, with great Success,
+even down to _Tallboy_ in the _Jovial Crew_"[3] and Mountfort himself
+alluded to his early success in the prologue to his first play, _The
+Injured Lovers_, where he defies the critics: "True Talboy to the last
+I'll Cry and Write."
+
+Mountfort scored his first major success as an actor when he played the
+title role in Crowne's _Sir Courtly Nice_. The play's popularity owed
+much to Mountfort's acting of a part which recalls Etherege's Sir
+Fopling Flutter. The "Account" of 1720 says that Mountfort "gain'd a
+great and deserved Reputation, as a Player; particularly in Acting the
+part of Sir _Courtly Nice_," and Cibber, who was later to create the
+great Sir Novelty Fashion, says of Mountfort's Sir Courtly:
+
+     There his whole Man, Voice, Mien, and Gesture, was no longer
+     _Monfort_, but another Person. There, the insipid, soft
+     Civility, the elegant, and formal Mien; the drawling delicacy
+     of Voice, the stately Flatness of his Address, and the empty
+     Eminence of his Attitudes were ... nicely observ'd.... If, some
+     Years after the Death of _Monfort_, I my self had any Success,
+     in either of these Characters, I must pay the Debt I owe to his
+     Memory, in confessing the Advantages I receiv'd from the just
+     Idea, and strong Impression he had given me, from his action
+     them (_Apology_, p. 76).
+
+In 1686, Mountfort married one of the attractive young actresses then
+appearing in London, Susanna Percival, and the Mountforts appeared
+together in a number of plays until his untimely death.
+
+Mountfort brought his first play, _The Injured Lovers_: or, _The
+Ambitious Father_, a tragedy, to be acted at Drury Lane early in
+February, 1688. The play was not a great success. Gildon mentions that
+it "did not succeed as the Author wish'd,"[4] although the play was
+brilliantly cast, with Betterton, Mrs. Bracegirdle, and Mrs. Barry in
+chief parts. Mountfort himself played second lead to Betterton, and the
+comedians Leigh, Jevon, and Underhill appeared in boisterous roles. But
+this rather extravagant account of passion and thwarted love did not
+take. Such lines as the heroine's "Thy _Antelina_, she shall be the Pile
+On which I'll burn, and as I burn I'll smile," reveals an uncertain
+poetic talent. In the prologue Mountfort manages more wit:
+
+    JO. _Hayne's Fate is now become my Share,
+    For I'm a Poet, Marry'd, and a Player:
+    The greatest of these Curses is the First;
+    As for the latter Two, I know the worst ..._
+
+And of the play's fate:
+
+    _Damn it who will, Damn me, I'll write again;
+    Clap down each Thought, nay, more than I can think,
+    Ruin my Family in Pen and Ink.
+    And tho' my Heart should burst to see your Spite,
+    True Talboy to the last, I'll Cry and Write...._
+
+Unsuccessful at tragedy, Mountfort moved to surer ground, and if tragedy
+did not sell on the market of the 1680's, farce was surefire.
+Mountfort's _The Life and Death of Doctor Faustus, Made into a Farce ...
+with the Humours of Harlequin and Scaramouche_, is a most interesting
+example of Restoration farce. The Queen's Theater in Dorset Garden was
+well-fitted for stage spectacle and effect, and Mountfort took advantage
+of his knowledge of the stage and the contemporary audience to produce
+an amusing and popular hit. The play was revived in 1697, five years
+after Mountfort's death, and again in 1724, at a time when, as Borgman
+tells us (p. 39), _The Injured Lovers_ had been long forgotten.
+
+Mountfort continued his acting career with great success; he was one of
+twenty-two men and six women who, on 12 January 1688, were given the
+position of "Comoedians in Ordinary" to King James, and he acted in a
+variety of plays, including Shadwell's _The Squire of Alsatia_, in May,
+1688, and _Bury Fair_, in April, 1689. In Dryden's _Don Sebastian_,
+produced in December, 1689, he played the young and noble Don Antonio,
+described as "the wittiest Woman's toy in Portugal." Although Mountfort
+was best known for comic roles, he scored a success as Alexander in
+Nathaniel Lee's _The Rival Queens_, January, 1690. Cibber says of his
+Alexander:
+
+     In Tragedy he was the most affecting Lover within my Memory.
+     His Addresses had a resistless Recommendation from the very
+     Tone of his Voice ... All this he particularly verify'd in that
+     Scene of _Alexander_, where the Heroe throws himself at the
+     Feet of _Statira_ for Pardon of his past Infidelities. There we
+     saw the Great, the Tender, the Penitent, the Despairing, the
+     Transported, and the Amiable, in the highest Perfection
+     (_Apology_, pp. 74-75).
+
+Mountfort's third play was acted in January, 1690, although it may have
+been produced as early as December of the previous year. _The Successful
+Strangers_, a tragi-comedy, was based on a novel by Scarron, _The Rival
+Brothers_. In his Preface, Mountfort confesses, "_I am no Scholar, which
+renders me incapable of stealing from Greek and Latin Authors, as the
+better Learned have done_". The play was a success; its combination of
+comedy and tragedy appealed to the town, and it was revived several
+times in the early eighteenth century.
+
+As Borgman notes (p. 80), Mountfort's acting career peaked in the season
+of 1690-1691, when he acted nine new roles, eight of which were leads.
+He also prepared a comedy of his own, _Greenwich Park_, and assisted in
+the writing or preparation of three other plays. He assisted Settle with
+_Distress'd Innocence_, and his name is linked with two plays by John
+Bancroft, _Edward III_ and _Henry the Second_, although his contribution
+here, if any, is uncertain. The publishers of the collected plays of
+1720 note that "we have annex'd, _King Edward the Third_, and _Henry the
+Second_; which tho' not wholly composed by him, it is presum'd he had,
+at least, a Share in fitting them for the Stage, otherwise it cannot be
+supposed he would have taken the Liberty of Writing Dedications to
+them." Borgman says of these plays that Mountfort "doubtless scanned the
+script with a critical eye and made such changes as would seem necessary
+to an experienced man of the theater" (p. 90).
+
+In _Greenwich Park_, Mountfort scored his greatest success. The comedy
+is a hilarious mixture of the comedy of manners, humours, and farce. The
+prologue sounds the dominant motif of the play, that of satiric and
+energetic sex-intrigue: "At Greenwich lies the Scene, where many a Lass
+Has bin Green-gown'd upon the tender Grass." The play hits wittily at
+fortune-hunters, cits, and old fellows who attempt to ignore their age.
+There is heavy reference to the contemporary London scene. The comedy
+was produced in April, 1691, with great success; Gildon says of it: "a
+very pretty Comedy, and has been always received with general Applause"
+(_Lives and Characters_, p. 102). The gay and witty Florella was played
+by Mrs. Mountfort--who played a part very much like that in which she
+was so successful previously, Sir Anthony Love. Mrs. Barry played the
+passionate Dorinda, a promiscuous and mercenary woman who, at one point
+in the play, cries out in the best tradition of sentimental comedy: "Oh
+what a Curse 'tis, when for filthy Gain We affect a Pleasure in a real
+Pain." Sir Thomas Reveller, the heavy but comic father, was played by
+Leigh; Nokes and Underhill played comic cits, and Mountfort himself
+played opposite his wife as Young Reveller. The play was revived
+repeatedly, and remains a delightful work.
+
+Mountfort's best part of his last year came in December, 1691, when he
+played the hilarious lout, Mr. Friendall, of Southerne's _The Wives'
+Excuse_. The play is good comedy, but quite serious, as Southerne
+focuses on the distress of an intelligent, sensitive woman, saddled with
+a foolish husband who is the perfect representative of a frivolous and
+malicious society. On Friday, 2 December 1692, Mountford acted what must
+have been his final role, Alexander in _The Rival Queens_.
+
+       *       *       *       *       *
+
+Mountfort's life ended at the height of his fame, in the most
+spectacular and dramatic murder of its time. The notorious Lord Mohun,
+then age fifteen, frequented the playhouse in 1692, often in the company
+of Captain Richard Hill, age twenty. Hill hoped to win the affections of
+Anne Bracegirdle, known not only for her beauty and acting ability, but
+also for her chastity--supposedly a scarce virtue among the actresses of
+the time. In _A Comparison between the Two Stages_, the following
+dialogue takes place:
+
+     _Sullen_: But does that _Romantick Virgin_ [Bracegirdle] still
+     keep up her great Reputation?
+
+     _Critick_: D'ye mean her Reputation for Acting?
+
+     _Sullen_: I mean her Reputation for not acting; you understand
+     me--....[5]
+
+Hill, making no headway with Mrs. Bracegirdle, concluded that she was in
+fact interested in Mountfort; they had often appeared on the stage
+together. More than once Hill was heard to utter threats against the
+actor, although Mohun was apparently on friendly terms with Mountfort
+Hill, determined to abduct the actress, persuaded Mohun to be his
+accomplice. They set Friday, 9 December 1692, as the date, and about ten
+o'clock in the evening, accompanied by some soldiers under Hill's
+command, they ambushed Mrs. Bracegirdle, her mother and her brother,
+Hamlet Bracegirdle, along with a man named Page, in Drury Lane. The
+actress's mother and Mr. Page fended the villains off for a time, in a
+moment a crowd gathered, and the would-be kidnappers saw that their plan
+was useless. Hill escorted the actress home and after having muttered a
+threat at Mr. Page proceeded to pace up and down outside their door.
+Approximately an hour and a half later, Mountfort appeared in Howard
+Street--apparently intent on confronting Hill and Mohun. Mohun greeted
+the actor courteously and asked if he had been sent for. Mountfort
+professed that he did not know anything of the business at hand, that he
+had come there by chance, adding that Mrs. Bracegirdle was no concern of
+his. What happened then happened fast and the witnesses disagree (see
+Borgman, pp. 135ff). It would seem, however, that Hill first struck the
+actor, then quickly drew and ran him through before Mountfort could
+draw. On his deathbed, traditionally the locale for truth-telling,
+Mountfort reported that "_My Lord Mohun offered me no Violence, but
+whilst I was talking with my Lord Mohun, Hill struck me with his Left
+Hand, and with his Right Hand run me through, before I could put my Hand
+to my Sword_" (Borgman, p. 140). It would seem clear that Hill gave the
+actor his deathblow and then, while the cry of murder was raised,
+escaped into the night. Mountfort, fatally wounded, staggered toward his
+own home in the next street. As Mrs. Mountfort opened the door, her
+husband fell bleeding into her arms; at one o'clock in the afternoon of
+the next day, he died. According to the "Account," he was to have played
+Bussy D'Ambois that night--Marlowe's tragedy of a young man who meets
+his death through assassination.
+
+Although Hill made good his escape, Lord Mohun stood trial in
+Westminster before his peers. Mohun's defense was simply that he was not
+privy to Hill's design and did not assist and encourage him in it. The
+lords, having heard the evidence, retired, and the next day, Saturday, 5
+February, acquitted Mohun of wrongdoing by a vote of 69-14. The prisoner
+was discharged.
+
+The United Company found themselves seriously hampered by the death of
+Mountfort, and even more so when fifteen days later the great comedian
+Anthony Leigh died. The "Account" says that Mountfort's death "had so
+great an Affect on his Dear Companion, Mr. LEE the Comedian, that he did
+not survive him above the space of a Week." The Company delayed the
+opening of a new play by one William Congreve, _The Old Bachelor_. But
+when that smash hit finally came on the boards in March 1693, Susanna
+Mountfort played the gay evaporee, Belinda, to great applause. And on 31
+January 1694, she married the actor John Verbruggen. The rather
+mysterious Anne Bracegirdle, for whom Mountfort had been killed, played
+female leads in all of Congreve's plays, and just as the public had once
+speculated on her relationship to Mountfort, they now speculated on her
+relationship to Congreve.
+
+Although farce was popular with London audiences during the Restoration,
+there was considerable controversy as to what it was and what it was
+worth. In a period in which the canon of English literary criticism was
+being formed, farce illustrates the disparity between received classical
+principles and the playwright's actual craft. Dryden, who himself
+"stooped" to writing farce, nonetheless sneers in his preface to _An
+Evening's Love, or The Mock-Astrologer_ [1671]:
+
+     Farce ... consists principally of grimaces ... Comedy consists,
+     though of low persons, yet of natural actions and characters; I
+     mean such humours, adventures, and designs, as are to be found
+     and met with in the world. Farce, on the other side, consists
+     of forced humours, and unnatural events. Comedy presents us
+     with the imperfections of human nature: Farce entertains us
+     with what is monstrous and chimerical.[6]
+
+Farce was theoretically unpopular because it relied on the extravagant
+and unnatural, as opposed to the play of real character found in comedy.
+And whereas in seventeenth-century comedy the avowed intention is
+usually to expose and thus to reform the vices and follies of the age,
+farce uses the grossly physical to draw a laugh; there is nothing to be
+learned from the slapstick and pigsbladder.
+
+Though sneered at by theorists and subject to endless abuse in the
+prologues and epilogues of the day, farce continued as pleasing to
+Restoration audiences as it is today. James Sutherland notes that shrewd
+actor-playwrights such as Mountfort, Betterton, Underhill, Jevon,
+Dogget, Powell--men who knew intimately the tastes of the town, chose to
+write farce.[7] Tate's _A Duke and No Duke_, Aphra Behn's _The Emperor
+of the Moon_, and Jevon's _The Devil of a Wife_, were among the most
+popular offerings, and although the Restoration wit may have gone to
+"Dr. Faustus" with a certain sense of intellectual slumming, he did
+continue to support quite generously the _farceurs_ of that time.
+Moreover, farcical elements appear regularly in the supposedly elegant
+and artificial Restoration comedy of manners.
+
+"Dr. Faustus" is a highly competent putting-together of those components
+which the experienced actor-playwright knew to be surefire. The date of
+its premier production is not known and has been assigned to a date as
+early as 1684 and as late as 1688. The farce was not published until the
+quarto of 1697, which appeared without cast-list, prologue, or
+epilogue.[8] The title page, however, states that the farce was acted at
+Dorset Garden "several times," by "Lee" (Anthony Leigh) and Jevon, and,
+as the editor of _The London Stage_ points out, since Jevon died in
+December of 1688, the premiere was probably no later than the season of
+1687-1688.[9] Borgman maintains that "Dr. Faustus" is Mountfort's second
+work, after _The Injured Lovers_ of February, 1688, noting that the
+epilogue to that play, spoken by Jevon, suggests that Mountfort was
+planning, or had written, a farce:
+
+    _Pardon but this, and I will pawn my life,
+    His next shall match my Devil of a Wife,
+    We'll grace it with the Imbellishment of Song and Dance;
+    We'll have the Monsieur once again from _France_,
+    With's Hoop and Glasses, and when that is done,
+    He shall divert you with his Riggadoon._
+
+We might guess, then, that if the epilogue does refer to "Dr. Faustus,"
+the date of that play is as late as the Spring of 1688.
+
+Mountfort took as his raw material Marlowe's great tragedy and for that
+reason "Dr. Faustus" may be to some extent thought of as a burlesque.
+The Restoration audience delighted in Marlowe's Faustus; the Elizabethan
+tragedy had been played in 1662, and there was a performance at the
+Duke's Theater in September, 1675. Edward Phillips wrote in his
+_Theatrum Poetarum_, that "of all that [Marlowe] hath written to the
+Stage his Dr. _Faustus_ hath made the greatest noise with its Devils and
+such like Tragical sport."[10] Here lies the suggestion that Mountfort
+was to take up, for as Borgman notes, Marlowe's tragedy has two distinct
+lines: the mighty verse which makes up the tragedy of an heroic
+overreacher, and a comic line of farcical _lazzi_. Mountfort has trimmed
+away the poetry of Marlowe and, for the most part, retained the farcical
+elements of the earlier play.[11]
+
+Mountfort keeps the compact with Mephostopholis, the appearance of good
+and bad angels, the visit of Lucifer and Beelzebub, the pageant of the
+seven deadly sins, the cheating of the horse-courser, the admonitions of
+the Old Man, the summoning of the spirits of Alexander and Darius, the
+tricking of Benvolio, the final moments of remorse before Faustus is
+dragged down to hell, and finally, the discovery of Faustus's limbs in
+his study. Mountfort's purpose, as Borgman notes, was not to convert an
+Elizabethan tragedy into a Restoration one, but to affix additional
+farcical materials to a work that already contained scenes of slapstick.
+
+Mountfort's unique contribution to his source was the introduction of
+the _commedia dell'arte_ figures which had become well-known to London
+theatergoers because of several visits to London by Italian actors since
+the Restoration. Probably, as Borgman notes (p. 36), the first
+Englishmen to play Scaramouche and Harlequin were Griffin and Haynes who
+had in 1677 appeared with the King's Company in Ravenscroft's
+_Scaramouch a Philosopher, Harlequin a School-Boy, Bravo, Merchant, and
+Magician_. When Aphra Behn's _The Emperor of the Moon_ appeared in
+March, 1687, Leigh played Scaramouche and Harlequin was taken by Jevon.
+It seems probable that in order that these two actors might have a
+further opportunity to appear as these popular characters, a place was
+found for Scaramouche and Harlequin in Mountfort's farce.
+
+The text of Mountfort's "Dr. Faustus" reveals that his farce, like any,
+must depend to a great extent on its _farceurs_. In Jevon and Leigh he
+had talented players and much of the script can be regarded merely as an
+improvisational chart allowing the two famed comics to maneuver. Jevon,
+as Leo Hughes points out, built up a considerable reputation, chiefly in
+low comedy roles since his first notice as Osric in a revival of Hamlet
+in 1673.[12] Having a slight, thin figure, he was noted for his grace of
+movement and agility on the stage; he played Harlequin. Although Jevon
+could play such straight roles as Young Bellair in _The Man of Mode_,
+he, along with Nokes, Underhill, and Leigh, made his reputation in the
+boisterous farce of which "Dr. Faustus" is an excellent example.
+
+Anthony Leigh played Scaramouche. Of his acting Cibber says:
+
+     In Humour, he lov'd to take a full Career, but was careful
+     enough to stop short, when just upon the Precipice: He had
+     great Variety, in his manner, and was famous in very different
+     Characters.... But no wonder _Leigh_ arriv'd to such Fame, in
+     what was so completely written for him; when Characters that
+     would make the Reader yawn, in the Closet, have by the Strength
+     of his Action, been lifted into the lowdest Laughter, on the
+     Stage (_Apology_, p. 85-86).
+
+That Jevon and Leigh played well together is evident, and one can see
+great possibilities in their improvisation of such _lazzi_ as the
+episode of the "dead body," Act I, Scene i, or in the elaborate show of
+compliment which ends the first act.
+
+The presence of Scaramouche and Harlequin in Mountfort's adaptation
+suggests the influence of the Italian and French _commedia_ on the
+Restoration stage, although, as Leo Hughes points out, the native
+tradition of farce is paramount (pp. 134-141). Hughes notes that
+although the _commedia_ influence is obvious, Italian farce is different
+in style from the English, and that although there were four or five
+tours by _commedia_ troops between 1660 and 1700, these visits were not
+enough to influence significantly English farce writing. Furthermore,
+the Italian's art was improvisational--they used no printed texts, and
+the English would therefore have even less chance to copy from the
+_commedia_. Readers of "Dr. Faustus" will find little trace of
+_commedia_ influence apart from the conventional names. Hughes
+acknowledges (p. 141) the greater influence of the French stage in the
+Restoration, owing chiefly to the great popularity of Moliere, whose
+influence on farce, especially on the afterpiece which became a staple
+on the English stage after 1695, was long-lived. His prestige was great;
+he appealed to English taste, and such characters as M. Jourdain, M.
+Pourceaugnac, and Sganarelle appear repeatedly in English adaptations.
+
+The action of farce is typically a string of blow-ups, stage business
+highly dependent on fast pacing. Characteristically on the English stage
+there is a great deal of stage-effect; "Dr. Faustus," produced at the
+Dorset Garden Theater where farce was often produced in order to take
+advantage of the elaborate stage machinery available there, makes use
+of rising tables, a giant which divides in two, good and bad angels
+which rise and descend, fireworks, a vanishing feast, a view of hell,
+and even more. Indeed, the often hilarious stage directions give us good
+insight into the capabilities of the Restoration stage. The finale is
+typical: "_Scene discovers Faustus's Limbs_." After the Old Man piously
+hopes that this "May ... a fair Example be to all, To avoid such Ways
+which brought poor Faustus's Fall," the "_Scene changes to Hell. Faustus
+Limbs come together. A Dance, and Song._"
+
+Farce often verges on satire, and, as he was to demonstrate in
+_Greenwich Park_, Mountfort had an eye for contemporary foibles. At the
+end of Act I, Harlequin and Scaramouche engage in dialogue which
+suggests similar passages of rough satire in Wycherley. Asked what
+practice his master, a doctor, has, Harlequin replies:
+
+     Why his Business is to patch up rotten Whores against the Term
+     for Country Lawyers, and Attorneys Clerks; and against
+     _Christmas_, _Easter_ and _Whitsun_ Holidays, for City
+     Apprentices; and if his Pills [to cure clap] be destroy'd,
+     'twill ruin him in one Term.
+
+Mountford altered the pageant of the seven sins that he found in
+Marlowe, changing it in at least one case to bring it up to date. He
+begins by paraphrasing Marlowe:
+
+     _Faustus_: What art thou the Third?
+
+     _Envy_: I am _Envy_; begot by a Chimny-sweeper upon an
+     Oyster-wench. I cannot read, and wish all Books burnt.
+
+But then Mountford departs from his source, adding the following lines:
+
+     I always curst the Governement, that I was not prefer'd; and
+     was a Male-content in Three Kings Reigns (II, i).
+
+The three kings are, I suppose, Charles I, Charles II, and James II, and
+the satiric jab is against those who perennially oppose the
+Establishment. Furthermore, it is easy to imagine that the role of
+Faustus, whoever played it, could well have been acted as a parody of
+the "tragical" acting style of the day, with its curious sing-song tone
+and stylized gestures.
+
+Mountfort's "Dr. Faustus" gives us an often amusing insight into that
+much despised, ever-popular bastard-child of the Restoration stage:
+farce. If the direct influence of the _commedia_ is slight, the spirit
+of improvisational comedy is embodied in the inspired buffoonery of
+Leigh and Jevon, reinforced by stage-effect and spots of contemporary
+satire. The play proved a hit and that undoubtedly was the playwright's
+sole intention. The farce is workmanlike, and as the "Account" prefixed
+to the 1720 collected plays observes, "THE Life and Death of Doctor
+_FAUSTUS_ has a great deal of low, but Entertaining Humour; it
+sufficiently shews his Talents that way."
+
+
+    University of Illinois
+    Urbana
+
+
+
+
+NOTES TO THE INTRODUCTION
+
+    1. _Six Plays, written by Mr. Mountfort_ (London, 1720), 2 volumes.
+       All references to plays other than "Dr. Faustus" are taken from
+       this collection.
+
+    2. The substance of my account of Mountfort's life and work is based
+       on Albert S. Borgman, _The Life and Death of William Mountfort_
+       (Cambridge: Harvard University Press, 1935).
+
+    3. _An Apology for the Life of Colley Cibber_, ed. B. R. S. Fone
+       (Ann Arbor: University of Michigan Press, 1968), p. 117.
+
+    4.  Charles Gildon, _The Lives and Characters of the English
+        Dramatick Poets_ (London, [1698?]), p. 102.
+
+    5.  (London, 1702), p. 17.
+
+    6.  _Essays of John Dryden_, ed. W. P. Ker (New York: Russell &
+        Russell, 1900; rpt. 1961), I, 135-136.
+
+    7.  _English Literature of the Late Seventeenth Century_ (Oxford:
+        Clarendon Press, 1969), p. 132.
+
+    8. The first edition, page 5, omits the period at the end of 1. 23
+       and the speech prefix "Meph." for 1. 24. These are correctly added
+       in the second edition (1720).
+
+    9.  _The London Stage 1660-1800, Part I: 1660-1700_, ed. W. Van
+        Lennep (Carbondale, Ill.: Southern Illinois University Press,
+        1965), 342.
+
+    10.  (London, 1675), p. 25.
+
+    11.  Borgman outlines the changes Mountfort made in his source; see
+         pp. 35ff and Appendix A.
+
+    12. _A Century of English Farce_ (Princeton: Princeton University
+        Press, 1956), pp. 165-166.
+
+
+
+BIBLIOGRAPHICAL NOTE
+
+
+The facsimile of Mountfort's _The Life and Death of Doctor Faustus_
+(1697) is reproduced by permission from a copy of the first edition
+(Shelf Mark: 131909) in _The Huntington Library, San Marino,
+California_. The total type-page (p. 17) measures 195 X 112 mm.
+
+
+
+
+    THE
+
+    LIFE and DEATH
+
+    OF
+
+    Doctor Faustus,
+
+    Made into a
+
+    FARCE.
+
+    By Mr. _MOUNTFORD_.
+
+    _First Edition_
+
+    WITH THE
+
+    Humours of _Harlequin_ and _Scaramouche_:
+
+    As they were several times Acted
+
+    By Mr. _LEE_ and Mr. _JEVON_,
+
+    AT THE
+
+    Queens Theatre in _Dorset_ Garden.
+
+    Newly Revived,
+
+    At the Theatre in _Lincolns Inn Fields_,
+
+    With _Songs_ and _Dances_ between the ACTS.
+
+    _LONDON_,
+
+    Printed and sold by _E. Whitlock_ near _Stationers_ Hall, (1697)
+
+
+
+
+
+The Life and Death of
+
+Dr. FAUSTUS.
+
+
+
+
+ACT I. SCENE I.
+
+_Dr._ Faustus _seated in his Chair, and reading in his Study_.
+
+_Good and bad Angel ready._
+
+
+    _Faust._ Settle thy Study, _Faustus_, and begin
+    To sound the Depth of that thou wilt profess;
+    These Metaphysicks of Magicians,
+    And Negromantick Books, are heav'nly
+    Lines, Circles, Letters, Characters,
+    Ay, these are those that _Faustus_ most desires;
+    A sound Magician is a Demi-God:
+    Here tire my Brains to get a Deity.
+
+Mephostopholis _under the Stage_. _A good and bad Angel fly down._
+
+    _Good Ang._ O _Faustus_! lay that damn'd Book aside;
+    And gaze not on it, lest it tempt thy heart to blasphemy.
+
+    _Bad Ang._ Go forward, _Faustus_, in that famous Art
+    Wherein all Natures Treasure is contain'd:
+    Be thou on Earth as _Jove_ is in the Sky,
+    Lord and Commander of these Elements.
+
+_Spirits ascend._
+
+    _Faust._ How am I glutted with conceit of this?
+    Shall I make Spirits fetch me what I please?
+    I'll have 'em fly to _India_ for Gold,
+    Ransack the Ocean for Orient Pearl.
+    I'll have 'em Wall all _Germany_ with Brass:
+    I'll levy Soldiers with the Coin they bring,
+    And chase the Prince of _Parma_ from our Land.      [_Rises._
+    'Tis now the Dead nigh Noon of Night,
+    And _Lucifer_ his Spirits freedom gives;
+    I'll try if in this Circle I can Raise
+    A _Daemon_ to inform me what I long for.
+
+_Sint mihi Dii Acherontis propitii, Orientis Princeps, Beelzebub,
+German. Demogorgon._ [Thunders. _Mephostopholis, Mephostopholis, surgat
+Spiritus._
+
+Mephostopholis _speaks under Ground_. [Thunders.
+
+_Meph._ _Faustus_, I attend thy Will.
+
+_Faust._ Where art thou?
+
+_Meph._ Here. [_a Flash of Light._
+
+_Scar. within._ Oh, oh, oh.
+
+_Faust._ What Noise is that? Hast thou any Companions with thee?
+
+_Meph._ No.
+
+_Faust._ It comes this way?
+
+_Scar._ Oh, oh, O----. [_Enter_ Scaramouche.
+
+_Faust._ What ail'st thou?
+
+_Scar._ O' o' o'
+
+_Faust._ Speak, Fellow, what's the Matter?
+
+_Scar._ O poor _Scaramouche_!
+
+_Faust._ Speak, I conjure thee; or _Acherontis Dii Demogorgon_.----
+
+_Scar._ O I beseech you Conjure no more, for I am frighted into a
+_Diabetes_ already.
+
+_Faust._ Frighted at what?
+
+_Scar._ I have seen, Oh, oh----
+
+_Faust._ What?
+
+_Scar._ The Devil.
+
+_Faust._ Art sure it was the Devil?
+
+_Scar._ The Devil, or the Devil's Companion: He had a Head like a Bulls,
+with Horns on; and two Eyes that glow'd like the Balls of a dark
+Lantern: His Hair stood a Tiptoe, like your new-fashion'd Top-knots;
+with a Mouth as large as a King's Beef Eater: His Nails was as sharp as
+a Welshman's in Passion; and he look'd as frightful as a Sergeant to an
+_Alsatian_.
+
+_Faust._ But why art thou afraid of the Devil?
+
+_Scar._ Why I never said my Prayers in all my Life, but once; and that
+was when my damn'd Wife was sick, that she might dye: My Ears are as
+deaf to good Council, as _French_ Dragoons are to Mercy. And my
+Conscience wants as much sweeping as a Cook's Chimny. And I have as many
+Sins to answer for as a Church-warden, or an Overseer of the Poor.
+
+_Faust._ Why, the Devil loves Sinners at his Heart.
+
+_Scar._ Does he so?
+
+_Faust._ He hates none, but the Vertuous, and the Godly. Such as Fast,
+and go to Church, and give Alms-deeds.
+
+_Scar._ I never saw a Church in my Life, thank God, (I mean the Devil;)
+and for Fasting, it was always my Abomination; and for Alms, I never
+gave any Thing in my Life, but the Itch once to a Pawn-broker. Therefore
+I hope he may Love me.
+
+_Faust._ And he shall Love thee; I'll bring thee acquainted with him.
+
+_Scar._ Acquainted with the Devil?
+
+_Faust._ Ay; _Tanto metropontis Acherontis_.
+
+_Scar._ Oh, oh, oh.
+
+_Faust._ Fear nothing _Mephostopholis_, be visible.
+
+[Scaramouche _sinks behind the Doctor, and peeps his Head out behind the
+Slip of his Gown._ _A Devil rises in Thunder and Lightning._
+
+I charge thee to be gon, and change thy Shape; thou art too ugly to
+attend on me. I find there's Virtue in my Charm; Come, rise up, Fool,
+the Devil's gon.
+
+[_The Devil sinks._
+
+_Scar._ The Devil go with him.
+
+_Faust._ Fear nothing, I command the Devil. If thou wilt leave thy
+Chimny-sweeping Trade, and live with me, thou shalt have Meat and Drink
+in Plenty; and 40 Crowns a Year shall be thy Wages; I'll make thee
+Learned in the black Art.
+
+_Scar._ I am a Student in that already: But let me consider, Good Meat
+and Drink, and 40 Crowns a Year. Then I'll change my black Art for
+yours.
+
+_Faust._ There's Earnest, thou art now my Servant; dispose of thy Brooms
+and Poles, they'll be useless to thee here; take this Key, go into my
+Study, and clean; take all the Books you find scatter'd about, and range
+'em orderly upon the Shelves.
+
+_Scar._ Happy _Scaramouche_, now may'st thou Swear, Lye, Steal, Drink
+and Whore; for thy Master is the Devil's Master, and thou in time may'st
+master 'em both.
+
+[_Exit_ Scaram.
+
+_Enter_ Mephostopholis.
+
+_Meph._ Now, _Faustus_, what wouldst thou have with me?
+
+    _Faust._ I charge thee wait upon me whilst I live,
+    And do what-ever _Faustus_ shall command.
+
+_Meph._ Ay _Faustus_, so I will, if thou wilt purchase me of _Lucifer_.
+
+_Faust._ What says _Lucifer_, thy Lord?
+
+    _Meph._ That I shall Wait on _Faustus_ whilst he Lives,
+    So thou wilt buy my Service with thy Blood.
+
+_Faust._ Already _Faustus_ has hazarded that for thee.
+
+    _Meph._ Ay, but thou must bequeath it solemnly,
+    And write a Deed of Gift with it;
+    For that Security craves _Lucifer_.
+    If thou deny it, I must back to Hell.
+
+    _Bad Ang._ But _Faustus_, if I shall have thy Soul,
+    I'll be thy Slave, and worship thy Commands,
+    And give thee more than thou hast Will of.
+
+    _Faust._ If he wilt spare me Four and twenty Years,
+    Letting me Live in all Voluptuousness,
+    To have thee ever to attend on me,
+    To give me whatsoever I shall ask,
+    And tell me whatsoever I demand;
+    On these Conditions I resign it to him.
+
+    _Meph._ Then, _Faustus_ stab thy Arm couragiously,
+    And bind thy Soul, that at some certain Day
+    Great _Lucifer_ may claim it as his own;
+    And then be thou as Great as _Lucifer_.
+
+    _Faust._ Lo, _Mephostopholis_, for Love of thee, _Faustus_ has cut
+    His Arm, and with his proper Blood
+    Assures his Soul to be great _Lucifers_.
+
+_Meph._ But, _Faustus_, write it in manner of a Deed, and Gift.
+
+_Faust._ Ay, so I do; but, _Mephostopholis_, my Blood congeals, and I
+can write no more.
+
+_Meph._ I'll fetch thee Fire to dissolve it streight. [_Exit._
+
+    _Faust._ What might the staying of my Blood portend,
+    It is unwilling I should write this Bill.
+
+_Good and Bad Angel descend._
+
+_Good An._ Yet, _Faustus_, think upon thy precious Soul.
+
+_Bad An._ No, _Faustus_, think of Honour, and of Wealth.
+
+_Faust._ Of Wealth. Why all the _Indies_, _Ganges_, shall be mine.
+
+_Good An._ No, _Faustus_, everlasting Tortures shall be thine.
+
+    _Bad An._ No, _Faustus_, everlasting Glory shall be thine.
+    The World shall raise a Statue of thy Name,
+    And on it write, This, this is he that could command the
+    World.      [_Good Angel ascends, bad Angel descends._
+
+    _Faust._ Command the World; Ay, _Faustus_, think on that,
+    Why streams not then my Blood that I may write?
+    _Faustus_ gives to thee his Soul; Oh! there it stops. Why
+    shouldst thou not? Is not thy Soul thy own?
+
+_Enter_ Mephostopholis _with a Chafer of Fire_.
+
+_Meph._ See, _Faustus_, here is Fire, set it on.
+
+_Faust._ So now the Blood begins to clear again.
+
+_Meph._ What is't I would not do to obtain his Soul?
+
+    _Faust._ _Consummatum est_; the Bill is ended.
+    But what is this Inscription on my Arm?
+    _Homo fuge_: Whether shall I fly?
+    My Senses are deceiv'd, here's nothing writ;
+    O yes, I see it plain, even here is writ
+    _Homo fuge_; yet shall not _Faustus_ fly,
+    I'll call up something to delight his Mind.
+
+[_Song._ Mephostopholis _waves his Wand_. _Enter several Devils, who
+present Crowns to_ Faustus, _and after a Dance vanish_.
+
+_Faust._ What means this then?
+
+    _Meph._ 'Tis to delight thy Mind, and let thee see
+    What Magick can perform.
+
+_Faust._ And may I raise such Spirits when I please.
+
+_Meph._ Ay, _Faustus_, and do greater Things than these.
+
+    _Faust._ Then, _Mephostopholis_ receive this Deed of Gift;
+    But set Conditionally, that thou perform all
+    Covenants and Articles herein subscribed.
+
+    _Meph._ I swear by Hell, and _Lucifer_, to effect all
+    Promises between us both.
+
+_Faust._ Then take it.
+
+_Meph._ Do you deliver it as your Deed, and Gift?
+
+_Faust._ Ay, and the Devil do you good on't.
+
+_Meph._ So, now, _Faustus_, ask what thou wilt.
+
+_Faust._ Then let me have a Wife.
+
+Faustus _waves his Wand, and a Woman Devil rises: Fire-works about
+whirles round, and sinks_.
+
+_Faust._ What sight is this?
+
+_Meph._ Now, _Faustus_ wilt thou have a Wife?
+
+_Faust._ Here's a hot Whore indeed, I'll have no Wife.
+
+    _Meph._ Marriage is but a Ceremonial Toy;
+    I'll cull thee out the fairest Curtezans,
+    And bring 'em every Morning to thy Bed:
+    She whom thy Eye shall like, thy Heart shall have.
+
+_Faust._ Then, _Mephostopholis_, let me behold the Famous _Hellen_, who
+was the Occasion of great _Troys'_ Destruction.
+
+_Meph._ _Faustus_, thou shalt. [_Waves his Wand, enters._
+
+_Faust._ O _Mephostopholis_! what would I give to gain a Kiss from off
+those lovely Lips.
+
+_Meph._ _Faustus_, thou may'st. [_He kisses her._
+
+_Faust._ My Soul is fled; come _Hellen_, come, give me my Soul again;
+she's gon. [_He goes to kiss her again, and she sinks._
+
+_Meph._ Women are shy you know at the first Sight; but come, _Faustus_,
+command me somewhat else.
+
+_Faust._ Then tell me, is Hell so terrible as Church-men write it.
+
+_Meph._ No, _Faustus_ 'tis Glorious as the upper World; but that we have
+Night and Day, as you have here: Above there's no Night.
+
+_Faust._ Why sighs my _Mephostopholis_, I think Hell's a meer Fable.
+
+_Meph._ Ay, think so still.
+
+_Faust._ Tell me who made the World?
+
+_Meph._ I will not.
+
+_Faust._ Sweet _Mephos._
+
+_Meph._ Move me no further.
+
+_Faust._ Villain, have I not bound thee to tell me any Thing.
+
+    _Meph._ That's not against our Kingdom, this is: Thou art
+    Lost; think thou of Hell.
+
+_Faust._ Think, _Faustus_, upon him that made the World.
+
+_Meph._ Remember this. [_Sinks._
+
+    _Faust._ Ay, go accursed Spirit to ugly Hell,
+    'Tis thou hast damn'd distressed _Faustus_ Soul:
+    I will Repent: Ha!      [_Goes to his Books._
+    This Bible's fast, but here's another:
+
+[_They both fly out of's Hand, and a flaming Thing appears written_, &c.
+
+    Is't not too late?      [_Ring. Good and bad descend._
+
+_Bad An._ Too late.
+
+_Good An._ Never too late, if _Faustus_ will repent.
+
+    _Bad An._ _Faustus_, behold, behold thy Deed; if thou repent
+    Devils will tear thee in Pieces.
+
+_Good An._ Repent, and they shall never raze thy Skin.
+
+[_Scene shuts, Ang. ascends._
+
+_Scene changes to the Street._ _Enter_ Harlequin.
+
+_Harl._ This must be Mr. Doctor's House; I'll make bold to knock: My
+Heart fails me already.
+
+[Harlequin _opens the Door, peeps about, and shuts it_.
+
+I begin to tremble at the Thoughts of seeing the Devil.
+
+[_Knocks again._
+
+    Here's a great Resort of Devils, the very Doors smell of
+    Brimstone: I'll e'en back----No: I'll be a Man of Resolution:
+    But if Mr. Doctor should send a Familiar to open the
+    Door, in what language should I speak to the Devil?      [_Knocks._
+
+_Enter_ Scaramouche.
+
+_Scar. peeping._ This is some malicious Spirit, that will not let me
+alone at my Study; but I'll go in, and conn my Book. [_Exit._
+
+_Harl._ I believe Mr. Doctor is very Busy; but I'll rap this time with
+Authority.
+
+[Harlequin _raps at the Door_, Scaramouche _peeps out_. Harlequin
+_strikes him, and jumps back, runs frighted off_.
+
+_Scene changes to a Room in the Doctor's House._
+
+_Enter_ Scaramouche, _with a Book in the Doctor's Gown_.
+
+_Scar._ I have left the Door open to save the Devil the labour of
+Knocking, if he has a mind to come in: For I am resolved not to stir
+from my Book; I found it in the Doctor's Closet, and know it must
+contain Something of the Black Art.
+
+_Enter_ Harlequin.
+
+_Harl._ Oh here's Mr. Doctor himself; he's reading some conjuring Book.
+_Ide fain jecit._
+
+_Scar._ This must be a conjuring Book by the hard Words. AB, EB, IB, OB,
+UB, BA, BO, BU, BI.
+
+_Harl._ Its a Child's Primer. [Harlequin _looks over him_.
+
+_Scar._ The Devil, the Devil; be gon, avoid Satan. [_Runs off._
+
+_Harl._ O the Devil! Now will I lye as if I were Dead, and let the Devil
+go hunt for my Soul. [_Lyes down._
+
+_Enter_ Scaramouche.
+
+_Scar._ I have learn'd to raise the Devil, but how the Devil shall I do
+to lay him. Ha! what's here, a dead Body? The Devil assum'd this Body,
+and when I began to mutter my Prayers, he was in such haste he left his
+Carcass behind him. Ha! it stirs; no, 'twas but my Fancy.
+
+[Scaram. _lifts up all his Limbs, and lets 'em fall, whil'st_ Harl.
+_hits him on the Breech, lifts his Head, which falls gently_.
+
+    All's dead but's Head.      [_Sets him upright._
+    The Devil, the Devil! Be gon; what art thou?
+
+_Harl._ A poor unfortunate Devil.
+
+_Scar._ The Devil; _Avant_ then _Hagon mogon strogon_.
+
+_Harl._ O good Mr. Doctor, conjure up no more Devils and I'll be gon, or
+any thing.--I came only to ask your Black Artship a Question.
+
+_Scar._ No, this is not the Devil. Who art thou? Whence comest thou?
+What's thy Business, Quick, or _Hogon strogon_?
+
+_Harl._ Hold, hold, hold, I am poor _Harlequin_: By the Learned I am
+called _Zane_, by the Vulgar _Jack Pudding_. I was late Fool to a
+Mountebank; and last Night, in the mistaking the Pipkin, I eat up a Pot
+of _Bolus_ instead of Hasty Pudding; and devour'd Three Yards of
+_Diaculum_ Plaister instead of Pancake, for which my Master has turn'd
+me out of Doors instead of Wages: Therefore, to be reveng'd, I come to
+hire a Devil or two of you, Mr. Doctor, of a strong Constitution, that
+may swallow up his Turpentine Pills as fast as he makes 'em, that he may
+never cure poor Whore more of a Clap; and then he'll be undone, for they
+are his chief Patients.
+
+_Scar._ What Practice has he?
+
+_Harl._ Why his Business is to patch up rotten Whores against the Term
+for Country Lawyers, and Attorneys Clerks; and against _Christmas_,
+_Easter_ and _Whitsun_ Holidays, for City Apprentices; and if his Pills
+be destroy'd, 'twill ruin him in one Term.
+
+_Scar._ Come in; and for a Crown a Week I'll lett thee out a Devil, as
+they do Horses at Livery, shall swallow him a Peck of Pills a day,
+though every one were as big as a Pumpkin; and make nothing of a _Bolus_
+for a Breakfast.
+
+_Harl._ O brave Mr. Doctor! O dainty Mr. Devil!
+
+_Scar._ Seigniora. [_Here they Complement who shall go first._
+
+
+_The End of the First Act._
+
+
+
+
+ACT II.
+
+Faustus _in his Study_.
+
+_Good and Bad Angel descend._
+
+
+_Good An._ _Faustus_, Repent; yet Heav'n will pity thee.
+
+_Bad An._ Thou art a Spirit, Heav'n cannot pity thee.
+
+_Fau._ Who buzzes in my Ear, I am a Spirit; be I a Devil yet Heaven can
+pity me: Yea, Heaven will pity me, if I repent.
+
+_Bad An._ Ay, but _Faustus_ never shall repent.
+
+_Good An._ Sweet _Faustus_ think of Heav'n, and heavenly Things.
+[_Ascends._
+
+    _Fau._ My Heart is hardened, I cannot repent.
+    Scarce can I name Salvation, Faith, or Heav'n,
+    But I am pinch'd, and prick'd, in thousand Places.
+    O help distressed _Faustus_!
+
+Lucifer, Beelzebub. _and_ Mephostopholis _rises_.
+
+_Luc._ None can afford thee help; for only I have Interest in thee,
+_Faustus_.
+
+_Fau._ Oh! What art thou, that looks so terrible?
+
+_Luc._ I am _Lucifer_, and this is my Companion Prince in Hell.
+
+_Beel._ We are come to tell thee thou dost injure us.
+
+_Luc._ Thou call'st on Heav'n contrary to thy Promise.
+
+_Beel._ Thou should'st not think on Heav'n.
+
+    _Fau._ Nor will I henceforth pardon him for this,
+    And _Faustus_ Vows never to look to Heav'n.
+
+    _Beel._ So shalt thou shew thy self a faithful Servant,
+    And we will highly gratify thee for it.
+
+_Fau._ Those Words delight my Soul.
+
+_Luc._ _Faustus_, we are come in Person to shew thee Passtime; sit down,
+and thou shalt behold the Seven Deadly Sins in their own proper Shapes
+and Likeness.
+
+_Fau._ That Sight will be as pleasant to my Eye, as Paradise to _Adam_
+the first Day of his Creation.
+
+_Beel._ Talk not of Paradise, but mind the Show. Go, _Mephostopholis_,
+and fetch 'em in; and, _Faustus_, question 'em their Names. _Enter
+Pride._
+
+_Fau._ What art thou?
+
+_Prid._ I am _Pride_; I was begot by Disdain and Affectation. I always
+took the Wall of my Betters; had ever the first Cut, or else would not
+eat: I scorn'd all Advice, never thought any one handsom but my self;
+had the best Pue in the Church, though a Tradesman's Wife; and at last
+dyed of the Spleen, for want of a Coach and Six Horses. Why is not thy
+Room perfum'd, and spread with Cloth of _Tissue_? What must you sit, and
+I stand? Rise up Brute.
+
+_Fau._ Go, thou art a proud Slut indeed. [_Exit._
+
+_Enter_ Covetousness.
+
+Now what art thou the Second.
+
+_Cov._ I am _Covetousness_; I was begot by a close Fist, and a griping
+Heart, in a Usurer's Chest. I never eat, to save Charges: This Coat has
+cover'd me for Fourscore Winters: This Beard has seen as many more. I
+never slept in my Life, but always watch'd my Gold.
+
+_Fau._ What wert thou on Earth?
+
+_Cov._ I was first an Exciseman, and cheated the King and Country; then
+I was a Baker, and from every Neighbor's Loaf I stole Two Pound, and
+swore 'twas shrunk in the Oven. I was a Vintner, and by bribing of
+Quest-men had leave to sell in Pint Bottles for Quarts: At last I was a
+Horse-courser, made _Smithfield_ too hot to hold me, and rid Post to the
+Devil? Give me some Gold, Father? [_Exit._
+
+_Enter_ Envy.
+
+_Fau._ What art thou the Third?
+
+_Env._ I am _Envy_; begot by a Chimny-sweeper upon an Oyster-wench. I
+cannot read, and wish all Books burnt. I always curst the Government
+that I was not prefer'd; and was a Male-content in Three Kings Reigns. I
+am Lean with seeing others Eat; and I wish the Devil would make a Sponge
+of thy Heart, to wipe out the Score of my Sins.
+
+_Enter_ Wrath.
+
+_Fau._ Out, Envious Wretch. What art thou the Fourth?
+
+_Wra._ I am _Wrath_; I had neither Father nor Mother, but leap'd out of
+a Lion's Mouth when I was scarce an Hour old. I always abhor'd the Art
+of Patience, and curst all Fisher-men. I beat my Wife for my Pleasure;
+curst Heav'n in my Passion, 'cause it gave me no Fortune, and was hang'd
+for a Rape on a _Scotch_ Pedlar. [_Exit._
+
+_Enter_ Gluttony.
+
+_Fau._ What art thou the Fifth?
+
+_Glut._ I am _Gluttony_; begot by a Plow-man on a Washer-woman, who
+devour'd a _Chedder_ Cheese in two Hours. I am of a Royal Pedigree: My
+Grand-father was a Sur-loin of Beef, and my Mother a Gammon of Bacon: My
+Sisters were Sows, which supply'd me with Pork: My Brothers were Calves,
+which afforded me Veal: My God-fathers were _Peter_ Pickled-Herring, and
+_Michael_ Milk-Porredg: My God-mothers were _Susan_ Salt-butter, and
+_Margery_ Sous'd-Hog's-Face. Now, _Faustus_, thou hast heard my
+Pedigree, wilt thou invite me to Supper?
+
+_Fau._ Not I.
+
+_Glut._ Then the Devil choak thee.
+
+_Enter_ Sloth.
+
+_Fau._ What art thou the Sixth?
+
+_Slo._ Hey ho! I am _Sloth_; I was begotten at Church by a sleepy Judg
+on a Costermonger's Wife, in the middle of a long Sermon. I am as Lazy
+as a Fishmonger in the Dog-days, or a Parson in _Lent_: I would not
+speak another Word for a King's Ransom.
+
+_Enter_ Leachery.
+
+_Fau._ And what are you, Mr. _Minks_, the Seventh and last?
+
+_Leach._ I am one that love an Inch of Raw Mutton better than an Ell of
+Fry'd Stock-fish, and the first Letter of my Name begins with
+_Leachery_. [_Exit._
+
+_Fau._ This Sight delights my Soul.
+
+_Luc._ _Faustus_ in Hell are all manner of Delights.
+
+_Fau._ O might I see Hell once, and return safe.
+
+_Luc.__ Faustus_, thou shalt; give me thy hand. Hence let's descend, and
+we will _Faustus_ show The mighty Pleasures in the World below.
+[_Vanishes._
+
+
+SCENE _Changes_.
+
+_Enter_ Harlequin, _and_ Scaramouche _in the Doctor's Gown; a Wand, and
+a Circle_.
+
+_Scar._ So, now am I in my _Pontificalibus_: Now can I shew my Black
+Art; for I have found that heavenly Book which _Faustus_ used to raise
+the Dead in: Come, stand within this Circle.
+
+_Har._ 'Tis time to Conjure, for I am almost famish'd. We have fasted
+like Priests for a Miracle.
+
+_Scar._ I'll make thee amends presently; I'll conjure up a Spirit, ask
+what thou wilt thou shalt have it.
+
+_Har._ Let me alone for asking.
+
+_Scar._ Be very earnest with him, and intreat mightily.
+
+_Har._ I'll intreat Earnestly.
+
+_Scar._ Silence. _Sint mihi Dii Acherontis propitii Nobis Diccatus
+Mephostopholis, &c._
+
+Mephostopholis _rises_.
+
+    _Meph._ How am I tortur'd by these Villains Charms?
+    From _Constantinople_ have they brought me now,
+    Only for Measure of these idle Slaves? What
+    Would you with _Mephostopholis_?
+
+_Scar._ Wee'd know how Dr. _Faustus_ does.
+
+_Meph._ Well.
+
+_Scar._ When comes he home?
+
+_Meph._ Within Two Days.
+
+_Scar._ What was he doing when you left him?
+
+_Meph._ He was at Supper, eating good Chear.
+
+_Har._ Good Mr. Devil, tell him we are almost starv'd; and desire him to
+send us some of his good Chear.
+
+_Meph._ Is that all?
+
+_Har._ Some Wine too?
+
+_Meph._ What else.
+
+_Har._ What else: Why if Fornication been't against your Commandments,
+we would have some live Flesh; a handsom Wench.
+
+_Scar._ Only for a third Person, and please your Damnation.
+
+_Meph._ You shall have your Desires.
+
+_Har._ We desire your Mephostopholiship too, not to let us stay the
+Roasting and Boiling of any thing: For we are as Eager as the Wine in
+_Smithfield_, and want no whetting.
+
+_Meph._ You shall.
+
+Scaramouche _and_ Harlequin _pull off their Caps_.
+
+Now if your mighty Darkness would please to Retire.
+
+_Meph._ Farewell. [_Vanish._
+
+Scaramouche _steps out of the Circle, and struts about_.
+
+_Scar._ Now how do you like my Art?
+
+_Har._ O rare Art! O divine Mr. Doctor _Scaramouche_! If the Devil be as
+good as his Word, I'll owe him a good Turn as long as I live: But I wish
+our third Person would come.
+
+_A Giant rises._
+
+Ha! What's here?
+
+_Gi._ I am sent by _Pluto_ to bear you Company.
+
+_Har._ Is this his third Person? Or is it Three Generations in One? Come
+you from _Guild-hall_, Sir?
+
+_Gi._ No, Mortal, from the _Stygian_ Lake. I am the Giant which St.
+_George_ destroy'd; and in the Earth have been decaying ever since, but
+now am come to Eat with you.
+
+_Scar._ To pick up your Crums, Sir: You'r heartily Welcome.
+
+Scaramouche _gets upon_ Harlequin, _and salutes him_.
+
+_Gi._ I have lain now within the _Stygian_ Lake 2000 Years.
+
+_Scar._ Your Honour is not much shrunk in the Wetting.
+
+_Gi._ But we loose Time, and Dinner cools.
+
+_Har._ Where is it?
+
+_Gi._ In the next Room.
+
+_Scar._ Will it please your Lustiness to lead the Way?
+
+_Har._ Will it please you then to make way for him?
+
+_Gi._ I can divide my self to serve my Friends?
+
+[_Giant leaps in two._
+
+Breeches be you my Page, and follow me.
+
+Harleq. _and_ Scaram. _complement the Breeches_. [_Exeunt._
+
+
+SCENE _draws, and discovers a Table furnished with Bottles of Wine, and
+a Venison Pasty, a Pot of wild Fowl_, &c.
+
+_Enter_ Scaramouche, Giant, _and_ Harlequin.
+
+_Har._ O heavenly Apparition!
+
+_Scar._ Come, let's sit down.
+
+_The upper part of the Giant flies up, and the under sinks, and
+discovers a Woman in the Room._
+
+Harlequin _and_ Scaramouche _start_.
+
+_Scar._ Ha! What's here, a Woman?
+
+_Har._ O happy Change! Madam, with your good Leave.
+
+[_Kisses._
+
+_Scar._ Never too late in good Breeding. [_Kisses._] Rare Wench! And as
+Luscious as Pig-sauce.
+
+_Har._ Heav'n be prais'd for all.
+
+[_Woman sinks, a Flash of Lightning._
+
+_Scar._ Your unseasonable Thankfulness has rob'd us of our Strumpet.
+
+_Har._ No matter, no matter; we shall meet her in the Cloisters after
+the Fair. Come let's fall too.
+
+[_They put their Caps before their Faces._
+
+Ha!
+
+_Scar._ The Table runs away from us.
+
+_Har._ We'll bestow the Pains to follow it again; this I see is a
+running Banquet.
+
+[_They put their Caps on again, the Table removes._
+
+_Scar._ I have found the Secret: We must not say Grace at the Devil's
+Feast.
+
+_Har._ Come then let's fall too, _San's_ Ceremony; Will you be Carver?
+
+_Scar._ Every one for himself, I say.
+
+_Har._ Ay, every one for himself, and God for us all.
+
+[_Table flies up into the Air._
+
+_Scar._ A Plague o'your Proverb; it has a Word in't must not be named.
+
+_Har._ Ah, Mr. Doctor, do but intreat Mr. _Mephostopholis_ to let the
+Table down to us, or send us to that, and I'll be his Servant as long as
+I live. [_They are hoisted up to the Table._
+
+_Scar. and Har._ Oh, oh, oh.
+
+_Scar._ Now have a care of another Proverb: We go without our Supper.
+
+_Har._ Nay, now I know the Devil's Humour, I'll hit him to a Hair: Pray,
+Mr. Doctor, cut up that Pasty.
+
+_Scar._ I can't get my Knife into it, 'tis over-bak'd.
+
+_Har._ Ay, 'tis often so: God sends Meat, and the Devil sends Cooks.
+[_Table flies down._
+
+_Scar._ Thou Varlet, dost thou see what thy Proverb has done?
+
+_Har._ Now could I curse my Grand-mother, for she taught 'em me: Well,
+if sweet _Mephostopholis_ will be so kind as but to let us and the Table
+come together again, I'll promise never to say Grace, or speak Proverb
+more, as long as I live.
+
+[_They are let down to the Table._
+
+_Scar._ Your Prayers are heard, now be careful; for if I lose my Supper
+by thy Negligence I'll cut thy Throat.
+
+_Har._ Do, and eat me when you have done. I am damnably hungry; I'll cut
+open this Pasty, while you open that Pot of wild Fowl.
+
+[Harlequin _takes off the Lid of the Pasty, and a Stag's Head peeps out;
+and out of the Pot of Fowl flies Birds_. Harlequin _and_ Scaramouche
+_start back, fall over their Chairs, and get up_.
+
+_Har._ Here's the Nest but the Birds are flown: Here's Wine though, and
+now I'll conjure for a Supper. I have a Sallad within of my own
+Gathering in the Fields to Day.
+
+_Scar._ Fetch it in; Bread, Wine, and a Salad may serve for a
+Collation.
+
+_Enter_ Harlequin _with a Tray of Sallad_.
+
+_Har._ Come, no Ceremony among Friends. _Bon. fro._
+
+_Scar._ _Sallad mal adjuste_; here's neither Fat nor Lean.
+
+_Har._ O Mr. Doctor, neither Fat nor Lean in a Sallad.
+
+_Scar._ Neither Oyl, nor Vinegar.
+
+_Har._ Oh! I'll fetch you that presently.
+
+[Harlequin _fetches a Chamber-pot of Piss, and a Lamp of Oyl, and pours
+on the Sallad_.
+
+_Scar._ O thy Sallad is nothing but Thistles and Netles; and thy Oyl
+stinks worse than _Arsefetito_.
+
+_Har._ Bread and Wine be our Fare. Ha! the Bread's alive. [_Bread
+stirs._
+
+_Scar._ Or the Devil's in't. Hey! again. [_Bread sinks._
+
+_Har._ My Belly's as empty as a Beggar's Purse.
+
+_Scar._ And mine as full of Wind as a Trumpeter's Cheeks.
+
+[_Table sinks, and Flash of Lightning._
+
+But since we can't Eat, let's Drink: Come, here's Dr. _Faustus_'s
+Health.
+
+_Har._ Ay, come; God bless Dr. _Faustus_.
+
+[_Bottles fly up, and the Table sinks._
+
+_Scar._ What all gone: Here's a Banquet stole away like a City Feast.
+[_Musick._
+
+_Har._ Ha! here's Musick to delight us.
+
+[_Two Chairs rises._ Harlequin _and_ Scaramouche _sits down, and are
+caught fast_.
+
+_Scar._ Ha! the Devil. We are lock'd in.
+
+_Har._ As fast as a Counter Rat.
+
+_Enter several Devils, who black_ Harlequin _and_ Scaramouche's _Faces,
+and then squirt Milk upon them_. _After the Dance they both sink._
+
+_Scar. and Har._ O' o, o'----
+
+
+_The End of the Second Act._
+
+
+
+
+ACT III.
+
+
+SCENE _a Wood_.
+
+Mephostopholis _and Dr._ Faustus.
+
+_Faust._ How have I been delighted by thy Art; and in Twelve Years have
+seen the utmost Limits of the spacious World; feasted my self with all
+Varieties; pleasur'd my Fancy with my Magick Art, and liv'd sole Lord
+o'er every Thing I wish'd for.
+
+_Meph._ Ay, _Faustus_, is it not a splendid Life?
+
+_Faust._ It is my Spirit; but prithee now retire, while I repose my
+self within this Shade, and when I wake attend on me again.
+
+_Meph._ _Faust_, I will. [_Exit._
+
+_Faust._ What art thou, _Faustus_, but a Man condemn'd. Thy Lease of
+Years expire apace; and, _Faustus_, then thou must be _Lucifers_: Here
+rest my Soul, and in my Sleep my future State be buried.
+
+_Good and bad Angel descends._
+
+_Good An._ _Faustus_, sweet _Faustus_, yet remember Heav'n. Oh! think
+upon the everlasting Pain thou must endure, For all thy short Space of
+Pleasure.
+
+_Bad An._ Illusions, Fancies, _Faustus_; think of Earth. The Kings thou
+shalt command: The Pleasures Rule. Be, _Faustus_, not a whining, pious
+Fool. [_Ascend._
+
+_Enter_ Horse-courser.
+
+_Hors._ Oh! what a couz'ning Doctor was this: I riding my Horse into the
+Water, thinking some hidden Mystery had been in 'em, found my self on a
+Bundle of Straw, and was drag'd by Something in the Water, like a
+Bailiff through a Horse-pond. Ha! he's a Sleep: So ho, Mr. Doctor, so
+ho. Why Doctor, you couz'ning, wheedling, hypocritical, cheating,
+chousing, Son of a Whore; awake, rise, and give me my Mony again, for
+your Horse is turn'd into a Bottle of Hay. Why Sirrah, Doctor; 'sfoot I
+think he's dead. Way Doctor Scab; you mangy Dog. [_pulls him by the
+Leg._ 'Zounds I'm undone, I have pull'd his Leg off.
+
+_Faust._ O help! the Villain has undone me; Murder.
+
+_Hors._ Murder, or not Murder, now he has but one Leg I'll out-run him.
+[_Exit._
+
+_Faust._ Stop, stop him; ha, ha, ha, _Faustus_ has his Leg again, and
+the Horse-courser a Bundle of Hay for his Forty Dollars. Come,
+_Mephostopholis_, let's now attend the Emperor. [_Exit_ Faust. _and_
+Meph.
+
+_Enter_ Horse-courser, _and_ Carter, _with Pots of Ale_.
+
+_Cart._ Here's to thee; and now I'll tell thee what I came hither for:
+You have heard of a Conjurer they call Doctor _Faustus_.
+
+_Hors._ Heard of him, a Plague take him, I have Cause to know him; has
+he play'd any Pranks with you?
+
+_Cart._ I'll tell thee, as I was going to the Market a while ago, with
+a Load of Hay, he met me, and askt me, What he should give me for as
+much Hay as his Horse would Eat: Now, Sir, I thinking that a little
+would serve his Turn, bad him take as much as he would for Three
+Farthings.
+
+_Hors._ So.
+
+_Cart._ So he presently gave me Mony, and fell to Eating: And as I'm a
+cursen Man, he never left Yeating and Yeating, 'till he had eaten up my
+whole Load of Hay.
+
+_Hors._ Now you shall hear how he serv'd me: I went to him Yesterday to
+buy a Horse of him, which I did; and he had me be sure not to ride him
+into the Water.
+
+_Cart._ Good.
+
+_Hors._ Ad's Wounds 'twas Bad, as you shall hear: For I thinking the
+Horse had some rare Quality, that he would not have me know, what do me
+I but rides him in the Water; and when I came just in the midst of the
+River, I found my self a Straddle on a Bottle of Hay.
+
+_Cart._ O rare Doctor!
+
+_Hors._ But you shall hear how I serv'd him bravely for it; for finding
+him a Sleep just now in a By-Field, I whoop'd and hollow'd in his Ears,
+but could not wake him; so I took hold of his Leg, and never left
+pulling till I had pull'd it quite off.
+
+_Cart._ And has the Doctor but one Leg then? That's Rare. But come, this
+is his House, let's in and see for our Mony; look you, we'll pay as we
+come back.
+
+_Hors._ Done, done; and when we have got our Mony let's laugh at his one
+Leg: Ha, ha, ha. [_Exeunt Laughing._
+
+_Enter_ Hostess.
+
+_Host._ What have the Rogues left my Pots, and run away, without paying
+their Reck'ning? I'll after 'em, cheating Villains, Rogues, Cut-purses;
+rob a poor Woman, cheat the Spittle, and rob the King of his Excise; a
+parcel of Rustick, Clownish, Pedantical, High-shoo'd, Plow-jobbing,
+Cart-driving, Pinch-back'd, Paralytick, Fumbling, Grumbling, Bellowing,
+Yellowing, Peas-picking, Stinking, Mangy, Runagate, Ill-begotten,
+Ill-contriv'd, Wry-mouth'd, Spatrifying, Dunghill-raking, Costive,
+Snorting, Sweaty, Farting, Whaw-drover Dogs. [_Exit_
+
+_Enter_ Faustus.
+
+_Faust._ My Time draws near, and 20 Years are past: I have but Four poor
+Twelve Months for my Life, and then I am damn'd for ever.
+
+_Enter an_ Old Man.
+
+_Old M._ O gentle _Faustus_, leave this damn'd Art; this Magick, that
+will charm thy Soul to Hell, and quite bereave thee of Salvation: Though
+thou hast now offended like a Man, do not, oh! do not persist in't like
+a Devil. It may be this my Exhortation seems harsh, and all unpleasant;
+let it not, for, gentle Son, I speak in tender Love and Pity of thy
+future Misery; and so have hope that this my kind Rebuke, checking thy
+Body, may preserve thy Soul.
+
+_Faust._ Where art thou, _Faustus_? Wretch, what hast thou done? O
+Friend, I feel thy Words to comfort my distressed Soul; retire, and let
+me ponder on my Sins.
+
+_Old M._ _Faustus_, I leave thee, but with grief of Heart, Fearing thy
+Enemy will near depart. [_Exit._
+
+_Enter_ Mephostopholis.
+
+_Meph._ Thou Traytor, I arrest thee for Disobedience to thy Sovereign
+Lord; revolt, or I'll in piece-meal tear thy Flesh.
+
+_Faust._ I do repent I e'er offended him; torment, sweet Friend, that
+old Man that durst disswade me from thy _Lucifer_.
+
+_Meph._ His Faith is great, I cannot touch his Soul; but what I can
+afflict his Body with I will.
+
+_Enter_ Horse-courser _and_ Carter.
+
+_Hors._ We are come to drink a Health to your wooden Leg.
+
+_Faust._ My wooden Leg; what dost thou mean, Friend?
+
+_Hors._ Ha, ha! he has forgot his Leg.
+
+_Cart._ Psha, 'tis not a Leg he stands upon. Pray, let me ask you one
+Question; Are both your Legs Bed-fellows?
+
+_Faust._ Why dost thou ask?
+
+_Cart._ Because I believe you have a good Companion of one.
+
+_Hors._ Why, don't you remember I pull'd off one o' your Legs when you
+were a Sleep?
+
+_Faust._ But I have it again now I am awake.
+
+_Cart._ Ad's Wounds, had the Doctor three Legs!----You, Sir, don't you
+remember you gave a Peny for as much Hay as your Horse would eat, and
+then eat up my whole Load.
+
+_Hors._ Look you, Mr. Doctor, you must not carry it off so; I come to
+have the Mony again I gave for the Ho-o-o-
+
+[Faustus _waves his Wand_.
+
+_Cart._ And I come to be paid far my Load of Ha-a-a.
+
+_Enter_ Hostess.
+
+_Host._ O Mr. Doctor! do you harbour Rogues that bilk poor Folks, and
+wont pay their Reck'nings? Who must pay me for my A-a-a-a [_Waves
+again._
+
+_Enter_ Scaramouche.
+
+_Scar._ Mr. Doctor, I can't be quiet for your Devil Mr. _Me-o-o--_
+[_Waves again._
+
+[_Exeunt_ Faustus _and_ Mephostopholis. _They all stare at one another,
+and so go off, crying O, o, o, o- to the Emperor's Pallace._
+
+_Enter Emperor_, Faustus, _Gent. Guards._ Benoolio _above_.
+
+_Emp._ Wonder of Men, thrice Learned _Faustus_, Renowned Magician,
+welcome to our Court; and as thou late didst promise us, I would behold
+the Famous _Alexander_ fighting with his great Rival _Darius_, in their
+true Shapes, and State Majestical.
+
+_Faust._ Your Majesty shall see 'em presently.
+
+_Ben._ If thou bring'st _Alexander_, or _Darius_ here, I'll be content
+to be _Actaeon_, and turn my self to a Stag.
+
+_Faust._ And I'll play _Diana_, and send you the Horns presently.
+
+_Enter_ Darius _and_ Alexander; _they Fight_: Darius _falls_. Alexander
+_takes his Crown, and puts it on his Head_.
+
+[_Exit._ Darius _sinks_.
+
+_Faust._ Away, be gon; see, my Gracious Lord, what Beast is that that
+thrusts his Head out of yon' Window.
+
+_Emp._ O wondrous Sight! see two Horns on young _Benoolio_'s Head; call
+him, Lords.
+
+_Lord._ What, ho! _Benoolio_.
+
+_Ben._ A Plague upon you, let me Sleep.
+
+_Lord._ Look up, _Benoolio_, 'tis the Emperor calls.
+
+_Ben._ The Emperor; O my Head.
+
+_Faust._ And thy Horns hold, 'tis no matter for thy Head.
+
+_Ben._ Doctor, this is your Villany.
+
+_Faust._ O say not so, Sir; the Doctor has no Skill, if he bring
+_Alexander_ or _Darius_ here you'll be _Actaeon_, and turn to a Stag:
+Therefore, if it please your Majesty, I'll bring a Kennel of Hounds to
+hunt him. Ho! _Helmot_, _Argiron_, _Asterot_.
+
+_Ben._ Hold, he'll raise a Kennel of Devils. Good, my Lord, intreat.
+
+_Emp._ Prithee remove his Horns, he has done Penance enough.
+
+_Faust._ Away; and remember hereafter you speak well of Scholars.
+
+_Ben._ If Scholars be such Cuckolds to put Horns upon honest Mens Heads,
+I'll ne'er trust Smooth-face and Small-band more: But if I been't
+reveng'd, may I be turn'd to a Gaping Oyster, and drink nothing but
+Salt-water.
+
+_Emp._ Come, _Faustus_, in recompence of this high Desert, Thou shalt
+command the State of _Germany_, and live belov'd of mighty _Carolus_.
+[_Exeunt omnes._
+
+
+SCENE _a Garden_.
+
+_Lord._ Nay, sweet _Benoolio_, let us sway thy Thoughts from this
+Attempt against the Conjurer.
+
+    _Ben._ My Head is lighter than it was by the Horns:
+    And yet my Heart's more pond'rous than my Head,
+    And pants, until I see the Conjurer dead.
+
+_2 Lord._ Consider.
+
+_Ben._ Away; disswade me not, he comes. [_Draws._
+
+_Enter_ Faustus _with a false Head_.
+
+    Now Sword strike home:
+    For Horns he gave, I'll have his Head anon.
+
+_Runs_ Faustus _through, he falls_.
+
+_Faust._ Oh, oh.
+
+_Ben._ Groan you, Mr. Doctor, now for his Head.
+
+[_Cuts his Head off._
+
+_Lord._ Struck with a willing Hand.
+
+_Ben._ First, on this Scull, in quittance of my Wrongs, I'll nail huge
+forked Horns within the Window where he yoak'd me first, that all the
+World may see my just Revenge; and thus having settled his Head----
+
+_Faust._ What shall the Body do, Gentlemen.
+
+_Ben._ The Devil's alive again?
+
+_Lord._ Give the Devil his Head again.
+
+    _Faust._ Nay, keep it; _Faustus_ will have Heads and Hands;
+    I call your Hearts to recompence this Deed.
+    Ho; _Asteroth_, _Belincoth_, _Mephostopholis_.
+
+_Enter Devils, and Horse 'em upon others._
+
+    Go Horse these Traytors on your fiery Backs.
+    Drag 'em through Dirt and Mud, through Thorns and Briers.
+
+_Lord._ Pity us, gentle _Faustus_, save our Lives.
+
+_Faust._ Away.
+
+_Ben._ He must needs go whom the Devil drives.
+
+[_Spirits fly away._ _Exit_ Faustus.
+
+
+SCENE _a Hall_.
+
+_Enter_ Harlequin _in a Beggar's Habit_.
+
+_Harl._ I find this _Scaramouche_ is a Villain; he has left the Doctor,
+and is come to be Steward to a rich Widdow, whose Husband dyed
+Yesterday, and here he is coming to give the Poor their Doles, of which
+I'll ha' my Share.
+
+Scaramouche, _and poor People, with a Basket of Bread and Money_.
+
+_Scar._ Come hither, poor Devils; stand in Order, and be Damn'd. I came
+to distribute what your deceased good Master hath bequeath'd. [_They all
+stare at_ Scar.
+
+_Harl._ God bless you, Mr. Steward.
+
+_Scar._ Let me tell you, Gentlemen, he was as good a Man as ever piss'd,
+or cry'd Stand on the High-way.
+
+[Scaramouche _takes out a Leaf and a Shilling, holds it out, and_
+Harlequin _takes it_.
+
+He spent a good Estate, 'tis true; but he was no Body's Foe but his own.
+I never left him while he was worth a Groat. [_Again._] He would now and
+then Curse in his Passion, and give a Soul to the Devil, or so; yet,
+what of that? He always paid his Club, and no Man can say he owes this.
+[_Again._] He had a Colt's Tooth, and over-laid one of his Maids; yet,
+what of that? All Flesh is frail. [_Again._] 'Tis thought that her Body
+workt him off on his Legs; why, what of that? his Legs were his own, and
+his Arse never hung in your Light. [_Again._] Sometimes, you'll say, he
+wou'd rap out an Oath; what then, Words are but Wind, and he meant no
+more harm than a sucking Pig does by squeaking. [_Again._] Now let's
+consider his good Deeds; he brew'd a Firkin of strong Drink for the poor
+every Year, and kill'd an old Ram every _Easter_: The Meat that was
+stale, and his Drink that was sowre, was always yours. [_Again._] He
+allow'd you in Harvest to Glean after his Rake. [_Again._] And now, at
+his Death, has given you all this. [_Again._
+
+_Scar._ So, setting the Hare's Head against the Goose Giblets, he was a
+good Hospitable Man; and much good may do you with what you had.
+
+_Poor._ I have had nothing.
+
+_2 Poor._ Nor I.
+
+_3 Po._ Nor I.
+
+_4 Po._ Nor. I.
+
+_Scar._ Nothing.
+
+_All._ Nothing, nothing.
+
+_Scar._ Nothing, nothing; you lying Rogues, then there's something for
+you. [_Beats 'em all off._
+
+_Enter_ Harlequin _in a Cloak, laughing_.
+
+_Har._ So now I am Victual'd, I may hold out Siege against Hunger. [_A
+Noise within; this way, this way._
+
+Ha! they are hunting after me, and will kill me. Let me see, I will take
+this Gibbet for my Preserver, and with this long Cloak make as if I were
+hang'd. Now when they find a Man hang'd, not knowing me in this
+Disguise, they'll look no farther after me, but think the Thief's
+hang'd.----I hear 'em coming. [_Throws himself off the Ladder._
+
+_Enter_ Scaramouche.
+
+_Scar._ Ha! what's here, a Man hang'd? But what Paper is this in his
+Hand?
+
+[_Whil'st_ Scaramouche _reads_, Harlequin _puts the Rope over him_.
+
+I have cheated the Poor of their Mony, and took the Bread out of their
+Mouths, for which I was much troubled in Conscience, fell into Dispair,
+and, as you see, hang'd my self.
+
+[_Pulls him up, and runs out_
+
+O the Devil! Murder, murder!
+
+_Enter_ Poor.
+
+_Poor._ O Neighbours, here hangs the Rogue.
+
+_Scar._ Help me down?
+
+_Poor._ No, you are very well as you are.
+
+_Scar._ Don't you know me?
+
+_Poor._ Ay, for a Rogue; e'en finish your Work, and save the Hang-man a
+Labour. Yet, now I think on't, self-murder is a crying Sin, and may damn
+his Soul. Come, Neighbours, we'll take him down, and have him hang'd
+according to Law. [_When he's down he trips up their Heels, and runs
+out, they after him._
+
+_All._ Stop Thief, stop Thief.
+
+_Thunder and Lightning_; Lucifer, Beelzebub, _and_ Mephostopholis.
+
+_Luc._ Thus from the infernal _Dis_ do we ascend, bringing with us the
+Deed; the Time is come which makes it forfeit.
+
+_Enter_ Faustus, _an old Man, and a Scholar_.
+
+_Old M._ Yet, _Faustus_, call on Heav'n.
+
+_Faust._ Oh! 'tis too late; behold, they lock my Hands.
+
+_Old M._ Who, _Faustus_?
+
+_Faust._ _Lucifer_ and _Mephostopholis_; I gave 'em my Soul for Four and
+twenty Years.
+
+_Old M._ Heav'n forbid.
+
+_Fau._ Ay, Heav'n forbad it indeed, but _Faustus_ has done it; for the
+vain Pleasure of Four and twenty Years, _Faustus_ has lost eternal Joy
+and Felicity: I writ 'em a Bill with my own Blood, the Date is expired;
+this is the Time, and they are come to fetch me.
+
+_Old M._ Why would not _Faustus_ tell me of that before?
+
+_Faust._ I oft intended it, but the Devil threat'ned to tear me in
+Pieces. O Friend, retire, and save your self.
+
+_Old M._ I'll into the next Room, and there pray for thee.
+
+_Faust._ Ay, pray for me; and what Noise soever you hear stir not, for
+nothing can rescue me.
+
+_Old M._ Pray thou, and I'll pray. Adieu.
+
+_Faust._ If I live till Morning I'll visit you; if not, _Faustus_ is gon
+to Hell. [_Exeunt old Man and Scholar._
+
+_Meph._ Ay, _Faustus_, now thou hast no hopes on Heav'n.
+
+    _Faust._ O thou bewitching Fiend; 'twas thou, and thy
+    Temptations, hath rob'd me of eternal Happiness.
+
+    _Meph._ I do confess it, _Faustus_, and rejoyce.
+    What weep'st thou, 'tis too late; hark to thy Knell:
+    Fools that will Laugh on Earth, must Weep in Hell.
+
+_Ext._
+
+_Good and bad Angel descend._
+
+    _Good An._ O _Faustus_, if thou hadst given Ear to me,
+    Innumerable Joys had followed thee:
+    But thou didst love the World.
+
+_Bad An._ Gave Ear to me, and now must taste Hell's Pains perpetual.
+
+_Throne of Heaven appears._
+
+    _Good An._ Had'st thou affected sweet Divinity,
+    Hell, nor the Devil, had no Power on thee.
+    Had'st thou kept on that way, _Faustus_, behold in what resplendid
+    Glory thou had'st sat; that hast thou Lost.
+    And now, poor Soul, must thy good Angel leave:
+    The Jaws of Hell are ready to receive thee.      [_Ascends._
+
+_Hell is discovered._
+
+    _Bad An._ Now, _Faustus_, let thy Eyes with Horror stare
+    Into that Vast perpetual torturing House.
+
+_Faust._ O I have seen enough to torture me.
+
+    _Bad An._ Nay thou must feel 'em, 'taste the Smart of all.
+    He that loves Pleasure must for Pleasure fall:
+    And so I leave thee, _Faustus_, till anon.
+    Thou'lt tumble into Confusion.      [_Descends._
+
+_The Clock strikes Eleven._
+
+    _Faust._ Now, _Faustus_, hast thou but one bear Hour to Live,
+    And then thou must be Damn'd perpetually:
+    Stand still you ever-moving Spheres of Heav'n,
+    That Time may cease, and Mid-night never come.
+
+Or let this Hour be but a Year, a Month, a Week, a natural Day; that
+_Faustus_ may repent, and save his Soul. Mountains and Hills come, come,
+and fall on me, and hide me from the heavy Wrath of Heav'n. Gape Earth;
+Oh no, it will not harbour me. [_The Clock strikes._ Oh! half the Hour
+is past; 'twill all be past anon. Oh! if my Soul must suffer for my Sin,
+impose some end to my incessant Pain. Let _Faustus_ live in Hell a
+Thousand Years, an Hundred thousand, and at last be sav'd. [_Strikes
+Twelve._ No End is limitted to damn'd Souls: It strikes, it strikes.
+Now, Body, turn to Air, to Earth, or Water. Oh! avoid the Fire: They
+come. Oh! mercy, Heaven; ugly Hell gape not. Come not _Lucifer_; O
+_Mephostopholis_.
+
+[_Sink with Devils. Thunder._
+
+_Enter old Man and Scholar._
+
+_Old M._ Come, Friend, let's visit _Faustus_: For such a dreadful Night
+was never seen.
+
+_Scene discovers_ Faustus's _Limbs_.
+
+    _Schol._ O help us, Heav'n; see here are _Faustus_'s Limbs,
+    All torn asunder by the Hand of Hell.
+
+    _Old M._ May this a fair Example be to all,
+    To avoid such Ways which brought poor _Faustus_'s Fall.
+    And whatsoever Pleasure does invite,
+    Sell not your Souls to purchase vain Delight.
+
+[_Exeunt._
+
+_Scene changes to Hell._
+
+Faustus _Limbs come together_. _A Dance, and Song._
+
+
+_FINIS._
+
+
+
+
+    WILLIAM ANDREWS CLARK
+    MEMORIAL LIBRARY
+
+    UNIVERSITY OF CALIFORNIA, LOS ANGELES
+
+    The Augustan Reprint Society
+
+    PUBLICATIONS IN PRINT
+
+
+The Augustan Reprint Society
+
+PUBLICATIONS IN PRINT
+
+=1948-1949=
+
+16. Henry Nevil Payne, _The Fatal Jealousie_ (1673).
+
+17. Nicholas Rowe, _Some Account of the Life of Mr. William Shakespear_
+    (1709).
+
+18. Anonymous, "Of Genius," in _The Occasional Paper_, Vol. III, No. 10
+    (1719), and Aaron Hill, Preface to _The Creation_ (1720).
+
+=1949-1950=
+
+19. Susanna Centlivre, _The Busie Body_ (1709).
+
+20. Lewis Theobald, _Preface to the Works of Shakespeare_ (1734).
+
+22. Samuel Johnson, _The Vanity of Human Wishes_ (1749), and two
+    _Rambler_ papers (1750).
+
+23. John Dryden, _His Majesties Declaration Defended_ (1681).
+
+=1951-1952=
+
+26. Charles Macklin, _The Man of the World_ (1792).
+
+31. Thomas Gray, _An Elegy Wrote in a Country Churchyard_ (1751), and
+    _The Eton College Manuscript_.
+
+=1952-1953=
+
+41. Bernard Mandeville, _A Letter to Dion_ (1732).
+
+=1962-1963=
+
+98. Selected Hymns Taken Out of Mr. Herbert's _Temple_ ... (1697).
+
+=1964-1965=
+
+109. Sir William Temple, _An Essay Upon the Original and Nature of
+     Government_ (1680).
+
+110. John Tutchin, _Selected Poems_ (1685-1700).
+
+111. Anonymous, _Political Justice_ (1736).
+
+112. Robert Dodsley, _An Essay on Fable_ (1764).
+
+113. T. R., _An Essay Concerning Critical and Curious Learning_ (1698).
+
+114. Two Poems Against Pope: Leonard Welsted, _One Epistle to Mr. A.
+     Pope_ (1730), and Anonymous, _The Blatant Beast_ (1742).
+
+=1965-1966=
+
+115. Daniel Defoe and others, _Accounts of the Apparition of Mrs. Veal_.
+
+116. Charles Macklin, _The Covent Garden Theatre_ (1752).
+
+117. Sir Roger L'Estrange, _Citt and Bumpkin_ (1680).
+
+118. Henry More, _Enthusiasmus Triumphatus_ (1662).
+
+119. Thomas Traherne, _Meditations on the Six Days of the Creation_
+     (1717).
+
+120. Bernard Mandeville, _Aesop Dress'd or a Collection of Fables_
+     (1740).
+
+=1966-1967=
+
+123. Edmond Malone, _Cursory Observations on the Poems Attributed to Mr.
+     Thomas Rowley_ (1782).
+
+124. Anonymous, _The Female Wits_ (1704).
+
+125. Anonymous, _The Scribleriad_ (1742). Lord Hervey, _The Difference
+     Between Verbal and Practical Virtue_ (1742).
+
+=1967-1968=
+
+129. Lawrence Echard, Prefaces to _Terence's Comedies_ (1694) and
+     _Plautus's Comedies_ (1694).
+
+=1968-1969=
+
+133. John Courtenay, _A Poetical Review of the Literary and Moral
+     Character of the Late Samuel Johnson_ (1786).
+
+134. John Downes, _Roscius Anglicanus_ (1708).
+
+135. Sir John Hill, _Hypochondriasis, a Practical Treatise_ (1766).
+
+136. Thomas Sheridan, _Discourse ... Being Introductory to His Course of
+     Lectures on Elocution and the English Language_ (1759).
+
+137. Arthur Murphy, _The Englishman From Paris_ (1736).
+
+=1969-1970=
+
+138. [Catherine Trotter], _Olinda's Adventures_ (1718).
+
+139. John Ogilvie, _An Essay on the Lyric Poetry of the Ancients_
+     (1762).
+
+140. _A Learned Dissertation on Dumpling_ (1726) and _Pudding Burnt to
+     Pot or a Compleat Key to the Dissertation on Dumpling_ (1727).
+
+141. Selections from Sir Roger L'Estrange's _Observator_ (1681-1687).
+
+142. Anthony Collins, _A Discourse Concerning Ridicule and Irony in
+     Writing_ (1729).
+
+143. _A Letter From A Clergyman to His Friend, With An Account of the
+     Travels of Captain Lemuel Gulliver_ (1726).
+
+144. _The Art of Architecture, A Poem. In Imitation of Horace's Art of
+     Poetry_ (1742).
+
+=1970-1971=
+
+145-146. Thomas Shelton, _A Tutor to Tachygraphy, or Short-writing_
+         (1642) and _Tachygraphy_ (1647).
+
+147-148. _Deformities of Dr. Samuel Johnson_ (1782).
+
+149. _Poeta de Tristibus: or the Poet's Complaint_ (1682).
+
+150. Gerard Langbaine, _Momus Triumphans: or the Plagiaries of the
+     English Stage_ (1687).
+
+=1971-1972=
+
+151-152. Evan Lloyd, _The Methodist_. A Poem (1766).
+
+153. _Are these Things So?_ (1740), and _The Great Man's Answer to Are
+     these Things So?_ (1740).
+
+154. Arbuthnotiana: _The Story of the St. Alb-ns Ghost_ (1712), and _A
+     Catalogue of Dr. Arbuthnot's Library_ (1779).
+
+155-156. A Selection of Emblems from Herman Hugo's _Pia Desideria_
+         (1624), with English Adaptations by Francis Quarles and Edmund
+         Arwaker.
+
+
+
+
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