Iris. Hermes, forbear! Juno will chide Is great Jove jealous that I am employ'd [thunder, Iris. But what hath he to do with nuptial rites? Let him keep state upon his starry throne, And fright poor mortals with his thunderbolts, Leaving to us the mutual darts of eyes! Merc. Alas, when ever offer'd he t'abridge Your lady's power, but only now, in these, Whose match concerns his general government? Hath not each god a part in these high joys? And shall not he, the king of gods, presume Without proud Juno's licence? Let her know, That when enamour'd Jove first gave stand her Thou shalt Still as a rock, while I, to bless this feast, Will summon up, with my all-charming rod, The nymphs of fountains, from whose watry locks (Hung with the dew of blessing and increase) The greedy rivers take their nourishment. Ye nymphs, who bathing in your loved springs, Beheld these rivers in their infancy, And joy'd so see them, when their circled heads Refresh'd the air, and spread the ground with flowers; [feet Rise from your wells, and with your niinbie Perform that office to this happy pair, Which in these plains you to Alpheus did, When passing hence, thro' many seas unmix'd, He gain'd the favour of his Arethuse! Immediately upon which speech, four Naiades arise gently out of their several fountains, and present themselves upon the stage, attired in long habits of sea-green taffeta, with bubbles of crystal intermixt with powdering of silver resembling drops of water, blewish tresses on their heads, garlands of water-lilies. They fall into a measure, dance a little, then make a stand. Iris. Is Hermes grown a lover? By what power, Unknown to us, calls he the Naiades? Merc. Presumptuous Iris, I could make thee dance, 'Till thou forgot'st thy lady's messages, And ran'st back crying to her! Thou shalt know My power is more; only my breath, and this, Shall move fix'd stars, and force the firmament To yield the Hyades, who govern showers, And dewy clouds, in whose dispersed drops Thou form'st the shape of thy deceitful bow. Ye maids, who yearly at appointed times Advance with kindly tears the gentle floods, Descend, and pour your blessing on these streams, Which, rolling down from Heav'n-aspiring hills, And now united in the fruitful vales, the firmament, to the middle part of the hill, appareled in sky-coloured taffeta robes, spangled like the heavens, golden tresses, and each a fair star on their head; from thence descend to the stage, at whose sight the Naiades seeming to rejoice, meet and join in a dance. Iris. Great wit and power hath Hermes, to contrive A lifeless dance, which of one sex consists! Merc. Alas, poor Iris! Venus hath in store A secret ambush of her winged boys; groves, First struck these lovers with their equal darts; Those Cupids shall come forth, and join with these To honour that which they themselves began. Enter four Cupids from each side of the bos cage, attired in flame-coloured taffeta close to their body, like naked boys, with bows, arrows, and wings of gold; chaplets of flowers on their heads, hoodwinked with tiffany scarfs, who join with the nymphs and the Hyades in another dance. That ended, Mercury speaks. Merc. Behold the statues which wise Vulcan plac❜d3 Under the altar of Olympian Joy, 3 Iris. Behold, &c.] The argument, as well as what follows, proves beyond contradiction that this speech belongs to Mercury, though hitherto erroneously allotted to Iris. Shall Shall dance for joy of these great nuptials. See how they move, drawn by this heav'nly joy, Like the wild trees, which follow'd Orpheus' harp! The Statues enter, supposed to be before descended from Jove's altar, and to have been prepared in the covert with the Cupids, attending their call. These Statues were attired in cases of gold and silver close to their bodies, faces, hands, and feet, nothing seen but gold and silver, as if they had been solid images of metal, tresses of hair as they had been of metal embossed, girdles and small aprons of oaken leaves, as if they likewise had been carved or moulded out of the metal: at their coming, the musick changed from violins to hautboys, cornets, &c., and the air of the musick was utterly turned into a soft time, with drawing notes, excellently expressing their natures, and the measure likewise was fitted unto the same, and the Statues placed in such several postures, sometimes all together in the centre of the dance, and sometimes in the four utmost angles, as was very graceful, besides the novelty. And so concluded the first anti-masque. Merc. And what will Juno's Iris do for her? Had it been worthier, I would have invok'd The second anti-masque rush in, dance their The dance likewise was of the same strain; and the dancers, or rather actors, expressed every one their part so naturally and aptly, as when a man's eye was caught with the one, and then past on to the other, he could not satisfy himself which did best. It pleased his majesty to call for it again at the end, as he did likewise for the first anti-masque; but one of the Statues by that time was undressed. Shall dance for joy of these great nuptials: Merc. Iris, we strive, Like winds at liberty, who should do worst Iris. Hermes, so it may be done Or call together all the ends of earth, A thousand yielding clouds, and never stay'd 'Till his high will was done: the Olympian games, Which long have slept, at these wish'd nuptials He pleas'd to have renew'd, and all his knights Are gather'd hither, who within their tents Rest on this hill; upon whose rising head Behold Jove's altar, and his blessed priests Moving about it! Come, you holy men, And with your voices draw these youths along, That'till Jove's music call them to their games, Their active sports may give a blest content To those, for whom they are again begun. The main Masque.-The second traverse is drawn, and the higher ascent to the mountain is discovered; wherein, upon a level, after a great rise of the hill, were placed two pavillions: open in the front of them, the pavillions were to sight as of cloth of gold, and they were trinimed on the inside with rich armour and military furniture, hanged up as upon the walls; and behind the tents there were represented, in prospective, the tops of divers other tents, as if it had been a camp. In these pavillions were placed fifteen Olympiau knights, upon seats a little embowed near the form of a crescent, and the knights appeared And gave to them an artificial life.] The transposition of these lines seems indispensably necessary. 5 Who should do worst.] The sense seems to require us to read most for worst; unless it means which should worst the other. first, first, as consecrated persons, all in veils, like to copes, of silver tiffany, gathered, and falling a large compass about them, and over their heads high mitres, with long pendants behind falling from them; the mitres were so high, that they received their hats and feathers, that nothing was seen but veil. In the midst between both the tents, upon the very top of the hill, being a higher level than that of the tents, was placed Jupiter's altar gilt, with three great tapers upon golden candlesticks burning upon it; and the four statues, two of gold, and two of silver, as supporters, and Jupiter's priests in white robes about it. Upon the sight of the king, the veils of the knights did fall easily from them, and they appeared in their own habit. The Knights' attire.-Arming doublets of carnation sattin, embroidered with blazing stars of silver plate, with powderings of smaller stars betwixt; gorgets of silver mail; long hose of the same, with the doublets laid with silver lace spangled, and enriched with embroidery between the lace; carnation silk stockings embroidered all over; garters and roses suitable; pumps of carnation sattin embroidered, as the doublets; hats of the same stuff, and embroidery cut like a helmet before, the hinder part cut into scallops, answering the skirts of their doublets; the bands of the hats were wreaths of silver in form of garlands of wild olives, white feathers, with one fall of carnation; belts of the same stuff and embroidered with the doublet; silver swords; little Italian bands and cuffs embroidered with silver; fair long tresses of hair. The Priests' habits.-Long robes of white taffeta; long white heads of hair; the highpriest a cap of white silk shag close to his head, with two labels at the ears, the midst rising in form of a pyramis, in the top thereof a branch of silver; every priest playing upon a lute; twelve in number. The Priests descend and sing this song following; after whom the Knights likewise descend, first laying aside their veils, belts, and swords. The Knights dance their second measure. If ladies mov'd as well as knights; Jove will but laugh, if you forswear! [Chorus.] And this day's sins, he doth resolve, That we bis priests should all absolve. The Knights take their ladies to dance with them galliards, durets, corantos, &c. and lead them to their places; then loud musick sounds, supposed to call them to their Olympian games. Ye should stay longer if we durst: And not a creature nigh 'em, And keep him ever by 'em. The Knights dance their parting measure, and ascend, put on their swords and belts; during which time, the Priests sing the fifth and last song. Peace and silence be the guide That all the world may wonder! THIS Masque is here printed from the quarto edition. All the other copies of it are extremely erroneous and imperfect: none of the descriptive parts are inserted in them; and to point out the blunders and other omissions, would require almost as many notes as the Masque contains lines, FOUR OR MORAL REPRESENTATIONS, IN ONE. This Drama was first printed in the folio edition. No circumstances appear to ascribe it in particular to either Author; it was probably a joint production. Fri. Enter Frigoso. [Noise within.] AWAY with those bald-pated rascals there! Their wits are bound up in vellum; they are Not current here. Down with those city gentlemen! &c. [their wives Out with those cuckolds, I say, and in with At the back door! Worship and place, I am weary of ye; Ye lie on my shoulders like a load of gold What's the matter? who are you, sir? Rin. Who am I, sir? Why, do you not know me? Fri. No, by my faith, do I not. Rin. I am sure we din'd together to-day. [paid As I din'd with you in the city, and as you For my dinner there, I do know you, and am Beholding to you: but as my mind is since Transmigrated into my office, and as you come To court to have me pay you again, and be Beholding to me, I know you not, I know you-not! Rin. Nay, but look Fri. Pardon ine! you, sir! [years, If you had been my bedfellow these seven And lent me money to buy my place, I must Not transgress principles: this very talking With you is an ill example. Rin. Pish! You are too punctual a courtier, sir! You will thrive accordingly, I warrant you. Rin. But, bark you, signor Frigoso! you shall first understand, I have no friends with me to trouble you. Nor to ask what you owe me. Fri. Why, that Is the very motive of motives why I ought And will know thee: and if I had not wound thee [thee Up to this promise, I would not have known Of Portugal, Emanuel, bear himself to-day? Rin. Why, like a fit husband for so gracious And excellent a princess, as his worthy Mate Isabella, the king of Castile's daughter, Doth, in her very external lineaments, Mixture of colours, and joining dove-like behaviour, Assure herself to be. And I protest, Like to multiply to their very last minute. Fri. The king is entering: signor, höver hereabout; And as soon as the train is set, clap into me; We'll stand near the state. If you have Any creditors here, they shall renew [touch Bonds a twelvemonth on such a sight: but to The pomel of the king's chair, in the sight Of a citizen, is better security For a thousand double-ducats, than three Of the best merchants in Lisbon. Besides, signor, [play here, We will censure, not only the king in the That reigns his two hours, but the king himself, That is to rule his life-time. Take my counsel! [bly, I have one word to say to this noble assemAnd I am for you. Rin. Your method shall govern me. Fri. Prologues are huishers bare before the wise'; Why may not then a huisher prologuise? Prologues are bad huishers before the wise.] If prologues are bad huishers, how does the consequence follow, that therefore an huisher or usher should prologuise? I believe bad a corruption, and that we should read but, which renders the whole easy and intelligible. Seward, The present text is from the first edition. Bare seems used in the sense of but, or mere. It is also sense, in the acception of uncovered, in this place. Here's |