diff options
Diffstat (limited to '37422.txt')
| -rw-r--r-- | 37422.txt | 2624 |
1 files changed, 2624 insertions, 0 deletions
diff --git a/37422.txt b/37422.txt new file mode 100644 index 0000000..226e743 --- /dev/null +++ b/37422.txt @@ -0,0 +1,2624 @@ +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. + + + + +THE AUGUSTAN REPRINT SOCIETY + +William Andrews Clark Memorial Library + +UNIVERSITY OF CALIFORNIA, LOS ANGELES + +2520 Cimarron Street (at West Adams), Los Angeles, California 90018 + +Publications of the first fifteen years of the Society (numbers 1-90) +are available in paperbound units of six issues at $16.00 per unit, from +the Kraus Reprint Company, 16 East 46th Street, New York, N.Y. 10017. + +Publications in print are available at the regular membership rate of +$5.00 for individuals and $8.00 for institutions per year. Prices of +single issues may be obtained upon request. Subsequent publications may +be checked in the annual prospectus. + + +_Make check or money order payable to_ + +THE REGENTS OF THE UNIVERSITY OF CALIFORNIA + + + + + +End of the Project Gutenberg EBook of The Life and Death of Doctor Faustus +Made into a Farce, by William Mountfort + +*** END OF THIS PROJECT GUTENBERG EBOOK THE LIFE AND DEATH OF DOCTOR *** + +***** This file should be named 37422.txt or 37422.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/7/4/2/37422/ + +Produced by Chris Curnow, Katie Hernandez, Joseph Cooper +and the Online Distributed Proofreading Team at +http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +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-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |