you, sir, exalt not your point above this state, at any hand, and let your poniard maintain your defence, thus; (give it the gentleman, and leave us ;) so, sir. Come on. O twine your body more about, that you may fall to a more sweet, comely, gentleman-like guard; so, indifferent: hollow your body more, sir, thus; now, stand fast o' your left leg, note your distance, keep your due proportion of time. O, you disorder your point most irregularly! Mat. How is the bearing of it now, sir? Bob. O, out of measure ill!-a well-experienced hand would pass upon you at pleasure. Mat. How mean you, sir, pass upon me? Bob. Why, thus, sir, (make a thrust at me); come in upon the answer, control your point, and make a full career at the body; the best practis'd gallants of the time name it the passado; a most desperate thrust, believe it! Mat. But one venue, sir. Bob. Venue! fie; most gross denomination as ever I heard. O, the stoccata, while you live, sir, note that; come, put on your cloak, and we'll go to some private place where you are acquainted-some tavern or so and have a bit; I'll send for one of these fencers, and he shall breathe you, by my direction, and then I will teach you your trick; you shall kill him with it at the first, if you please. Why, I will learn you by the true judgment of the eye, hand, and foot, to control any enemy's point i' the world. Should your adversary confront you with a pistol, 'twere nothing, by this hand; you should, by the same rule, control his bullet, in a line, except it were hail shot, and spread. What money ha' you about you, Master Matthew? Mat. Faith, I ha' not past a two shillings, or so. Bob. 'Tis somewhat with the least; but come; we will have a bunch of radish, and salt to taste our wine, and a pipe of tobacco, to close the orifice of the stomach; and then we'll call upon young Well-bred : perhaps we shall meet the Coridon his brother there, and put him to the question. Every Man in his Humour. [Bobadil's Plan for Saving the Expense of an Army.] Bob. I will tell you, sir, by the way of private, and under seal, I am a gentleman, and live here obscure, and to myself; but were I known to her majesty and the lords (observe me), I would undertake, upon this poor head and life, for the public benefit of the state, not only to spare the entire lives of her subjects in general, but to save the one half, nay, three parts of her yearly charge in holding war, and against what enemy soever. And how would I do it, think you? E. Kno. Nay, I know not, nor can I conceive. Bob. Why thus, sir. I would select nineteen more, to myself, throughout the land; gentlemen they should be of good spirit, strong and able constitution; I would choose them by an instinct, a character that I have: and I would teach these nineteen the special rules, as your punto, your reverso, your stoccata, your imbroccato, your passado, your montanto, till they could all play very near, or altogether as well as myself. This done, say the enemy were forty thousand strong, we twenty would come into the field the tenth of March, or thereabouts; and we would challenge twenty of the enemy; they could not in their honour refuse us; well, we would kill them: challenge twenty more, kill them; twenty more, kill them; twenty more, kill them too; and thus would we kill every man his twenty a-day, that's twenty score: twenty score. that's two Learn to be wise, and practise how to thrive, [The Alchemist.] Ibid. MAMMON. SURLY, his Friend. The scene, SUBTLE'S House. Mam. Come on, sir. Now you set your foot on shore In novo orbe. Here's the rich Peru: And there within, sir, are the golden mines, [FACE answers from within. Sir, he'll come to you by and by. Mam. That's his fire-drake, His Lungs, his Zephyrus, he that puffs his coals Till he firk nature up in her own centre. You are not faithful, sir. This night I'll change All that is metal in thy house to gold: And early in the morning will I send 13 To all the plumbers and the pewterers, Sur. What, and turn that too? Mam. Yes, and I'll purchase Devonshire and Corn- And make them perfect Indies! You admire now! Mam. But when you see the effects of the great Of which one part projected on a hundred Sur. Yes, when I see't, I will. Do you think I fable with you? I assure you, To whom he will. In eight-and-twenty days Restore his years, renew him like an eagle, To the fifth age; make him get sons and daughters, (The ancient patriarchs afore the flood), By taking, once a-week, on a knife's point, That keep the fire alive there. Mam. "Tis the secret Of nature naturised 'gainst all infections, A month's grief in a day; a year's in twelve ; Out o' the kingdom in three months. Sur. And I'll Be bound the players shall sing your praises, then, Without their poets. Mam. Sir, I'll do't. Meantime, I'll give away so much unto my man, Shall serve the whole city with preservative Mam. You are incredulous. Sur. Faith, I have a humour, I would not willingly be gull'd. Your Stone Mam. Pertinax Surly, Will you believe antiquity? Records? I'll show you a book, where Moses, and his sister, Sur. How! Which was no other than a book of Alchemy, THE COURT MASQUES OF THE SEVENTEENTH CENTURY. The courts of James I. and Charles I., while as yet danger neither existed nor was anticipated, were enlivened by the peculiar theatrical entertainment called the Masque a trifle, or little better, in itself, but which has derived particular interest from the genius of Jonson and Milton. The origin of the masque is to be looked for in the 'revels' and 'shows' which, during the fourteenth, fifteenth, and sixteenth centuries, were presented on high festive occasions at court, in the inns of the lawyers, and at the universities, and in those mysteries and moralities which were the earliest forms of the spoken drama. Henry VIII., in his earlier and better days, had frequent entertainments, consisting of a set of masked and gaily-dressed characters, or of such representations as the following: In the hall of the palace at Greenwich, a castle was reared, with numerous towers and gates, and every appearance of preparation for a long siege, and inscribed, Le fortresse dangereux; it was defended by six richly-dressed ladies; the king and five of his courtiers then entered in the disguise of knights, and attacked the castle, which the ladies, after a gallant resistance, surrendered, the affair concluding with a dance of the ladies and knights. Here there was nothing but scenery and pantomime; by and by, poetical dialogue, song, and music, were added; and when the masque had reached its height in the reigns of James and the first Charles, it employed the first talent of the country in its composition, and, as Bacon remarks, being designed for princes, was by princes played. Masques were generally prepared for some remarkable occasion, as a coronation, the birth of a young prince or noble, a peer's marriage, or the visit of some royal personage of foreign countries; and they usually took place in the hall of the palace. Many of them were enacted in that banqueting room at Whitehall, through which a prince, who often took part in them, afterwards walked to the scaffold. Allegory and mythology were the taste of that age: we wonder at the fact, but we do not perhaps sufficiently allow for the novelty of classical imagery and characters in those days, and it may be only a kind of prejudice, or the effect of fashion, which makes us so rigorously banish from our literature allusions to Mam. Of the Philosopher's Stone, and in High the poetic beings of Grecian antiquity; while we con Dutch. Mam. Tis like your Irish wood Will last 'gainst worms. tentedly solace ourselves in contemplating, through what are called historical novels, the much ruder, and perhaps not more truly represented, personages of the middle ages. The action of a masque was always something short and simple; and it is easy to see that, excepting where very high poetical and musical talent was engaged, the principal charm must have lain in the elegance of the dresses and decorations, and the piquancy of a constant reference from the actors in 'Gainst cobwebs. I have a piece of Jason's fleece too, their assumed, to the actors in their real characters. Usually, besides gods, goddesses, and nymphs from classical antiquity, there were such personages as Night, Day, Beauty, Fortitude, and so forth; but though the persons of the drama were thus removed from common life, the reference of the whole business of the scene to the occasion which had called it forth, was as direct as it could well be, and even ludicrously so, particularly when the object was to pay a compliment to any of the courtly audience. This, however, was partly justified by the private character of the entertainment; and it is easy to conceive that, when a gipsy stepped from the scene, and, taking the king's hand, assigned him all the good fortune which a loyal subject should wish to a sovereign, there would be such a marked increase of sensation in the audience, as to convince the poet that there lay the happiest stroke of his play. On the second night, a castle is presented in the hall, and Peace comes in riding in a chariot drawn by an elephant, on which sits Friendship. The latter pronounces a speech on the event of the preceding evening, and Peace is left to dwell with Prudence and Temperance. The third night showed Disdain on a wild boar, accompanied by Prepensed Malice, as a serpent, striving to procure the liberation of Discord and False Report, but opposed successfully by Courage and Discretion. At the end of the fight, Disdain shall run his ways, and escape with life, but Prepensed Malice shall be slain; signifying that some ungodly men may still disdain the perpetual peace made between these two virtues; but as for their prepensed malice, it is easy trodden under these ladies' feet.' The second night ends with a flowing of wine from conduits, during which time the English lords shall mask with the Scottish ladies:' the third night terminates by the six or eight ladies masquers singing a song 'as full of harmony as may be devised.' The whole entertainment indicates a sincere desire of reconciliation on the part of Elizabeth; but the first scene-a prison -seems strangely ominous of the events which fol Mr Collier, in his Annals of the Stage, has printed a document which gives a very distinct account of the court masque, as it was about the time when the drama arose in England; namely, in the early years of Elizabeth. That princess, as is well-known, designed an amicable meeting with Mary Queen of Scots, which was to have taken place at Nottingham castle, in May 1562, but was given up in conse-lowed six years after. quence, as is believed, of the jealousy of Elizabeth regarding the superior beauty of Mary. A masque was devised to celebrate the meeting and entertain the united courts, and it is the poet's scheme of this entertainment, docketed by Lord Burleigh, to which reference is now made. The masque seems to have been simply an acted allegory, relating to the circumstances of the two queens; and it throws a curious light not only upon the taste, but upon the political history of the period. We give the procedure of the first night. 'First, a prison to be made in the hall, the name whereof is Extreme Oblivion, and the keeper's name thereof Argus, otherwise called Circumspection: then a masque of ladies to come in after this sort: First Pallas, riding upon an unicorn, having in her hand a standard, in which is to be painted two ladies' hands, knit in one fast within the other, and over the hands, written in letters of gold, Fides. Then two ladies riding together, the one upon a golden lion with a crown of gold on his head, the other upon a red lion, with the like crown of gold; signifying two virtues; that is to say, the lady on the golden lion is to be called Prudentia, and the lady on the red lion Temperantia. After this, to follow six or eight ladies masquers, bringing in captive Discord and False Report, with ropes of gold about their necks. When these have marched about the hall, then Pallas to declare before the queen's majesty, in verse, that the goddess, understanding the noble meeting of these two queens, hath willed her to declare unto them that those two virtues, Prudentia and Temperantia, have made great and long suit unto Jupiter, that it would please him to give unto them False Report and Discord, to be punished as they think good; and that those ladies have now in their presence determined to commit them fast bound unto the aforesaid prison of Extreme Oblivion, there to be kept by the aforesaid jailor Argus, otherwise Circumspection, for ever, unto whom Prudentia shall deliver a lock, whereupon shall be written In Eternum. Then Temperantia shall likewise deliver unto Argus a key, whose name shall be Nunquam, signifying that, when False Report and Discord are committed to the prison of Extreme Oblivion, and locked there everlastingly, he should put in the key to let them out nunquam [never]; and when he hath so done, then the trumpets to blow, and the English ladies to take the nobility of the strangers, and dance.' The masque, as has been stated, attained the zenith of its glory in the reign of James I., the most festive known in England between those of Henry VIII. and Charles II. The queen, the princes, and nobles and ladies of the highest rank, took parts in them, and they engaged the genius of Jonson, Inigo Jones, and Henry Lawes, each in his various department of poet, machinist, and musician; while no expense was spared to render them worthy of the place, the occasion, and the audience. It appears from the accounts of the Master of Revels, that no less than £4215 was lavished on these entertainments in the first six years of the king's reign. Jonson himself composed twenty-three masques; and Dekker, Middleton, and others of the leading dramatic authors, Shakspeare alone excepted, were glad to contribute in this manner to the pleasures of a court whose patronage was so essential to them. The marriage of Lord James Hay to Anne, daughter and heir of Lord Denny, January 6th, 1607, was distinguished at court (Whitehall) by what was called the Memorable Masque, the production of Dr Thomas Campion, an admired musician as well as poet of that day, now forgotten. On this occasion, the great hall of the palace was fitted up in a way that shows the mysteries of theatrical scenery and decoration to have been better understood, and carried to a greater height, in that age, than is generally supposed. One end of the hall was set apart for the audience, having the king's seat in the centre; next to it was a space for ten concerted musicians-base and mean lutes, a bandora, a double sackbut, a harpsichord, and two treble violins-besides whom there were nine violins, three lutes, six cornets, and six chapel singers. The stage was concealed by a curtain resembling dark clouds, which being withdrawn, disclosed a green valley with green round about it, and in the midst of them nine golden ones of fifteen feet high. The bower of Flora was on their right, the house of Night on the left; between them a hill hanging like a cliff over the grove. The bower of Flora was spacious, garnished with flowers and flowery branches, with lights among them; the house of Night ample and stately, with black columns studded with golden stars; while about it were placed, on wires, artificial bats and owls continually moving. As soon as the king entered the great hall, the hautboys were heard from the top of the hill and from the wood, till Flora and Zephyrus were seen busily gathering with roses, wedding garments, rocks, and spindles, flowers from the bower, throwing them into baskets which two sylvans held, attired in changeable taffety. Besides two other allegorical characters, Night and Hesperus, there were nine masquers, representing Apollo's knights, and personated by young men of rank. After songs and recitative, the whole vale was suddenly withdrawn, and a hill with Diana's tree discovered. Night appeared in her house with Nine Hours, apparelled in large robes of black taffety, painted thick with stars; their hair long, black, and spangled with gold; on their heads coronets of stars, and their faces black. Every Hour bore in his hand a black torch painted with stars, and lighted. Night. Vanish, dark vales, let night in glory shine, That Cynthia's robbed, but thou must grace the thief? Flora. Be mild, stern Night; Flora doth honour Cynthia and her right; * The nymph was Cynthia's while she was her own, But now another claims in her a right, By fate reserved thereto, and wise foresight. hearts transfixed with arrows, others flaming, vir- 1st Grace. 2d Grace. She that will but now discover 3d Grace. He hath marks about him plenty; And his breath a flame entire, 1st Grace. At his sight the sun hath turn'd, Zephyrus. Can Cynthia one kind virgin's loss be- 2d Grace. Wings he hath, which though ye clip, moan ? How, if perhaps she brings her ten for one? * After some more such dialogue, in which Hesperus takes part, Cynthia is reconciled to the loss of her He will leap from lip to lip, nymph; the trees sink, by means of enginery, under 3d Grace. He doth bear a golden bow, the stage, and the masquers come out of their tops to fine music. Dances, processions, speeches, and songs follow, the last being a duet between a Sylvan and an Hour, by the way of tenor and bass. Syl. Tell me, gentle Hour of Night, Wherein dost thou most delight? Hour. Not in sleep. Syl. Wherein, then? Hour. In the frolic view of men. Syl. Lov'st thou music? Hour. Oh, 'tis sweet. Syl. What's dancing? Hour. Even the mirth of feet. Syl. Joy you in fairies and in elves? Hour. We are of that sort ourselves: But, Sylvan, say, why do you love Syl. Life is fullest of content, Where delight is innocent. Hour. Pleasure must vary, not be long; Come, then, let's close and end our song. Then the masquers made an obeisance to the king, and attended him to the banqueting room. The masques of Jonson contain a great deal of fine poetry, and even the prose descriptive parts are remarkable for grace and delicacy of language-as, for instance, where he speaks of a sea at the back of a scene, catching the eye afar off with a wander ing beauty. In that which was produced at the marriage of Ramsay, Lord Haddington, to Lady Elizabeth Ratcliff, the scene presented a steep red cliff, topped by clouds, allusive to the red cliff from which the lady's name was said to be derived; before which were two pillars charged with spoils of love, * amongst which were old and young persons bound 1 Diana. And a quiver hanging low, 1st Grace. Still the fairest are his fuel. Nought but wounds his hand doth season, 2d Grace. Trust him not; his words, though sweet, All his practice is deceit ; Every gift it is a bait ; 3d Grace. Idle minutes are his reign; 1st Grace. 2d Grace. Then the straggler makes his gain, To have all childish as himself. Love,' who dance, and then Venus apprehends her son, and a pretty dialogue ensues between them and Hymen. Vulcan afterwards appears, and, claiming the pillars as his workmanship, strikes the red cliff, which opens, and shows a large luminous sphere containing the astronomical lines and signs of the zodiac. He makes a quaint speech, and presents the sphere as his gift to Venus on the triumph of her son. The Lesbian god and his consort retire amicably to their chariot, and the piece ends by the singing of an epithalamium, interspersed with dances of masquers : Up, youths and virgins, up, and praise The god, whose nights outshine his days; Could never boast of brighter lights; Whose bands pass liberty. Two of your troop, that with the morn were free, Are now waged to his war. And what they are, Shine, Hesperus, shine forth, thou wished star! What joy, what honours can compare With holy nuptials, when they are Of years, of states, of hands, of hearts! The spouse and spoused have foremost voice! Live what they are, And such ours be. Shine, Hesperus, shine forth, thou wished star! Still further to illustrate this curious subject, and to revive a department of our literature almost totally unknown, we present one entire masque of Jonson, a short but beautiful one, which was represent at court in 1615, by the lords and gentlemen, the king's servants,' and seems to have been designed as a compliment to the king on the point of his love of justice. The Golden Age Restored. The court being seated and in expectation, Loud Music: PALLAS in her chariot descending to a softer music. Look, look! rejoice and wonder That you, offending mortals, are (For all your crimes) so much the care Of him that bears the thunder. Jove can endure no longer, Your great ones should your less invade; Or that your weak, though bad, be made A prey unto the stronger, And therefore means to settle Astræa in her seat again; And let down in his golden chain An age of better metal. Which deed he doth the rather, That even Envy may behold But that his care conserveth, As time, so all time's honours too, Regarding still what heav'n should do, And not what earth deserveth. [A tumult, and clashing of arms heard within. But hark! what tumult from yond' cave is heard? What noise, what strife, what earthquake and alarms, As troubled Nature for her maker fear'd, And all the Iron Age were up in arms! Hide me, soft cloud, from their profaner eyes, The IRON AGE presents itself, calling forth the EVILS. I. Age. Come forth, come forth, do we not hear What purpose, and how worth our fear, The king of gods hath on us? He is not of the Iron breed, That would, though Fate did help the deed, Rise, rise then up, thou grandame Vice Bring with thee Fraud and Slander, Thy boys, Ambition, Pride, and Scorn, Arm Folly forth, and Ignorance, Upon this enemy so great, And but this once bring under, The sceptre, and the thunder. Which of you would not in a war To keep your own states even ? About it, then, and let him feel Since he begins to threat her: And though the bodies here are less Than were the giants; he'll confess Our malice is far greater. The EVILS enter for the Antimasque, and dance to two drums, trumpets, and a confusion of martial music. At the end of which PALLAS re-appears, showing her shield. The EVILS are turned to statues. Pal. So change, and perish, scarcely knowing how, That 'gainst the gods do take so vain a vow, And think to equal with your mortal dates, Their lives that are obnoxious to no fates. "Twas time t' appear, and let their folly see 'Gainst whom they fought, and with what destiny. Die all that can remain of you, but stone, And that be seen a while, and then be none ! Now, now descend, you both belov'd of Jove, And of the good on earth no less the love. [The scene changes, and she calls ASTRA and the GOLDEN AGE. Descend, you long, long wish'd and wanted pair, |