And both begone. (To ORGILUS.) Bloody relater of thy stains in blood Of what death likes thee best; there's all our bounty. Intreat you and these lords see execution. Near. Your will commands us. Org. One suit, just Queen; my last. That by no common hand I be divided Cal. To their wisdoms, Who are to be spectators of thine end, I make the reference. Those that are dead, Are dead; had they not now died, of necessity Vouchsafe your They must have paid the debt they owed to nature We 'll suddenly prepare our Coronation. [Exit. Arm. 'Tis strange these tragedies should never touch on Her female pity. Bass. She has a masculine spirit. The Coronation of the Princess takes place after the execution of Orgilus.-She enters the Temple, dressed in White, having a Crown on her Head. She kneels at the Altar. The dead body of Ithocles (whom she should have married) is borne on a hearse, in rich Robes, having a Crown on his Head: and placed by the side of the Altar, where she kneels. Her devotions ended, she rises.— Cal. Our orisons are heard, the gods are merciful. Now tell me, you, whose loyalties pay tribute To us your lawful sovereign, how unskilful Your duties, or obedience is, to render Subjection to the sceptre of a virgin; A feminate authority: we therefore Command your counsel, how you may advise us Can better guide this kingdom. Near. Royal Lady Your law is in your will. Arm. We have seen tokens Of constancy too lately to mistrust it. Crot. Yet if your Highness settle on a choice Cal. Cousin of Argos. Cal. Were I presently To choose you for my Lord, I'll open freely What articles I would propose to treat on, Before our marriage. Near. Name them, virtuous Lady. Cal. I would presume you would retain the royalty Of Sparta in her own bounds: then in Argos Be Sparta's marshall : The multitudes of high employments could not I would bestow Christalla on Amelus; She 'll prove a constant wife: and Philema Bass. This is a testament; It sounds not like conditions on a marriage. He should be (cousin) solemnly invested In all those honors, titles, and preferments, Which his dear friend and my neglected husband Too short a time enjoy'd. Proph. I am unworthy Euph. Excellent Lady. Near. Madam, what means that word, neglected husband? Cal. Forgive me: Now I turn to thee, thou shadow [To the dead body of ITHOCLES Of my contracted Lord: bear witness all, Can vow a present end to all their sorrows: Yet live to vow new pleasures, and out-live them. They are the silent griefs which cut the heart-strings: Let me die smiling. Near. "Tis a truth too ominous. Cal. One kiss on these cold lips; my last. Crack, crack. Argos now 's Sparta's King. [Dies. [I do not know where to find in any Play a catastrophe so grand, so solemn, and so surprising as this. This is indeed, according to Milton, to "describe high passions and high actions." The fortitude of the Spartan Boy who let a beast gnaw out his bowels till he died without expressing a groan, is a faint bodily image of this dilaceration of the spirit, and exenteration of the inmost mind, which Calantha with a holy violence against her nature keeps closely covered, till the last duties of a Wife and a Queen are fulfilled. Stories of martyrdom are but of chains and the stake; a little bodily suffering; these torments On the purest spirits prey As on entrails, joints, and limbs, With answerable pains, but more intense. What a noble thing is the soul in its strengths and its weaknesses! who would be less weak than Calantha? who can be so strong? the expression of this transcendant scene almost bears me in imagination to Calvary and the Cross; and I seem to perceive some analogy between the scenical sufferings which I am here contemplating, and the real agonies of that final cornpletion to which I dare no more than hint a reference. Ford was of the first order of Poets. He sought for sublimity not by parcels in metaphors or visible images, but directly where she has her full residence in the heart of man; in the actions and sufferings of the greatest minds. There is a grandeur of the soul above mountains, seas, and the elements. Even in the poor perverted reason of Giovanni and Annabella (in the play which precedes this) we discern traces of that fiery particle, which in the irregular starting from out of the road of beaten action, discovers something of a right line even in obliquity, and shows hints of an improvable greatness in the lowest descents and degradations of our nature.] HYMEN'S TRIUMPH: A PASTORAL TRAGI-COMEDY. Love in Infancy. Ah, I remember well (and how can I But evermore remember well) when first Our flame began, when scarce we knew what was And what was our disease we could not tell. In that first garden of our simpleness We spent our childhood: But when years began To reap the fruit of knowledge: ah, how then Yet still would give me flowers, still would me show 3 Love after Death. Palamon. Fie, Thirsis, with what fond remembrances Dost thou these idle passions entertain! For shame leave off to waste your youth in vain, You other nymphs shall find, no doubt will be As lovely, and as fair, and sweet as she. Thirsis. As fair and sweet as she! Palæmon, peace: Ah, what can pictures be unto the life? Whose memory must take up all of me. Wrought in the liveliest colors of my blood; The perfect'st workmanship that love e'er wrought? It must remain entire whilst life remains, The Story of Isulia. There was sometimes a nymph, |