A SELECT COLLECTION OF OLD ENGLISH PLAYS.

BY

W. CAREW HAZLITT.

BENJAMIN BLOM, INC.

First published 1874-1876[Pg 1] Reissued 1964 by Benjamin Blom, Inc. L.C. Catalog Card No. 64-14702

Printed in U.S.A. by NOBLE OFFSET PRINTERS, INC. New York 3, N. Y.

[Pg 2]

THE REVENGER'S TRAGEDY.

For a notice of the Edition, see the next page.

[Pg 3]

INTRODUCTION.

Cyril Torneur is known only as an author, none of the dramatic biographers giving any account of him. Winstanley quotes the following distich from a contemporary poet, by which it appears that he was not held in much estimation for his writings—

He was the author of—

[(1.) The Transformed Metamorphosis, a Poem. 8o, London, 1600.[1]]

(2.) The Revengers Tragœdie. As it hath beene sundry times Acted by the Kings Maiesties Seruants. At London. Printed by G. Eld, and are to be sold at his house in Fleete-lane at the signe of the Printers-Presse. 1607, 4o. Again (a new date only) 1608, 4o.[2]

(3.) "The Atheists Tragedie: Or The honest Mans Reuenge. As in diuers places it hath often beene Acted. Written by Cyril Tourneur. At London Printed for [Pg 4]John Stepneth and Richard Redmer, and are to be sold at their shop, at the West end of Paules. 1611,"[3] 4o. Again, 1612, 4o.

(4.) A Traji-Comedy, called The Nobleman, never printed, and which Oldys says was destroyed by ignorance.[4]

(5.) A Funerall Poeme. Vpon the Death of the most Worthie and Trve Sovldier: Sir Francis Vere, Knight, Captaine of Portsmouth, L. Gouernour of his Maiesties Cautionarie Towne of Briell in Holland, &c., 4o, 1609.

(6.) A Griefe on the Death of Prince Henrie. Expressed in a broken Elegie, according to the nature of such a sorrow, 4o, 1613.[5]

[Pg 5]

[A MS. note in one of the former editions says: "This is a most splendid work. The character of Vendice surpasses anything else of the kind. The power with which it is conceived and conducted is appalling. The quaint way that accompanies it adds to its fearful effect. The whole is perfectly tremendous."]

[Pg 6]

FOOTNOTES:

[1] [See Hazlitt's "Handbook," 1867, art. Tourneur, in Appendix.]

[2] "The Revenger's Tragedy" was entered on the Stationers' Books, with "A Trick to Catch the Old One," on the 7th October 1607.

[3] There are some good passages in this play, but upon the whole it is considerably inferior to "The Revenger's Tragedy." The plot is unnatural, and the manner in which the catastrophe is brought about ludicrous.—Collier.

[4] It is very probable that Tourneur was concerned in other dramatic productions, which are either anonymous, or have been lost. He is mentioned in the following terms by Robert Daborne in a letter to P. Henslowe, dated 5th June 1613: "I have not only laboured my own play, which shall be ready before they (the company) come over, but given Cyrill Tourneur an act of the 'Arraignment of London' to write, yt we may have that likewise ready for them."—Collier.

[5] [This is part of a volume entitled, "Three Elegies on the most Lamented Death of Prince Henrie," 1613. The others are by John Webster and T. Heywood.] After the title comes a prose dedication, "To my noble Maister George Carie," and four lines "To the Reader." At the end of the "Griefe" are verses "On the representation of the Prince at his funeralle," and "On the succession," each in eight lines.—Gilchrist.

DRAMATIS PERSONÆ.[6]

The Scene, Italy.

[Pg 7]

FOOTNOTES:

[6] [Not in the old copy.]

THE REVENGER'S TRAGEDY.

ACTUS I., SCÆNA 1.[7]

Enter Vendice. The Duke, Duchess, Lusurioso the Duke's son, Spurio the bastard, with a train, pass over the stage with torchlight.

[Views the skull in his hand.

Enter Hippolito.

Enter Gratiana and Castiza.

Enter the old Duke, Lusurioso his son, the Duchess: the Bastard, the Duchess's two sons Ambitioso and Supervacuo; the third, her youngest, brought out with Officers for the rape. Two Judges.

[Exeunt, manet Duchess.

Enter Spurio.[17]

[Kisses him.

Enter Vendice and Hippolito. Vendice in disguise, to attend L. Lusurioso, the duke's son.

Enter Lusurioso.

[Gives him money.

[Pg 21]

Hip. Your plenteous honour! an excellent fellow, my lord.

Lus. So, give us leave—[Exit Hippolito.] welcome, be not far off; we must be better acquainted: pish, be bold with us—thy hand.

Ven. O, fie, fie! that's the wrong end, my lord. 'Tis mere impossible that a mother, by any gifts, should become a bawd to her own daughter!

Enter the discontented Lord Antonio, whose wife the Duchess's youngest son ravished: he discovering the body of her dead to certain Lords and Hippolito.

[Draws.

FOOTNOTES:

[7] ["There is some confusion in the arrangement of this scene. From the duke, &c., passing over the stage, it should be some open part of the duke's palace; but from the reflections on the skull, &c., it would appear to be Vendice's private study. But perhaps it was intended to represent two scenes, one above the other, as was frequently done at the period of this play."—MS. note in one of the former edits.]

[8] With a skull in his hand. That he has the skull of his mistress is evident from the whole of the scene. He makes use of it afterwards in act iii.—Collier.

[9] Luxury was the ancient appropriate term for incontinence. Hence this wanton old duke was called a luxur. See Mr Collins's note on "Troilus and Cressida," edit. 1778, ix. 166.—Steevens.

[10] [Old copy, palsy.]

[11] [Old copy, time.]

[12] This is not a name of the Lues Venerea, but a comparison only of it to a mole, on account of the effects it sometimes produces in occasioning the loss of hair.—Pegge.

[13] [Old copy, unnaturally—e'en.]

[14] A phrase in common use, signifying to accompany one.

[15] Hitherto [formerly] misprinted inscription: insculption is the word in the old quartos.—Collier.

[16] [Out of place in the mouth of housewives.—MS. note in one of the former edits.]

[17] The entrances and exits of the various characters are very defectively noticed in the old copies, and Mr Reed accurately supplied most of them.—Collier.

[18] Tourneur has urged this doctrine at greater length in the second act of his "Atheist's Tragedy," 1612.—Gilchrist.

[19] She means from the highest to the lowest of her sex. At this time women of the inferior order wore hats. See Hollar's "Ornatus Muliebris Anglicanus," 1640.

[20] [Old copy, honors.]

[21] "Set a beggar on horseback, and he'll ride a gallop. Asperius nihil est humili cum surgit in altum.—Claudian. Il n'est orgueil qui de pauvre enrichi.—Fr. There is no pride to the enriched beggar's. Il villan nobilitado non conosce il parentado.—Ital. The villain ennobled will not own his kindred or parentage."—[Hazlitt's "Proverbs," 1869, p. 331.]

[22] That part of a ring in which the stone is set.—Johnson's "Dictionary."

[23] [Old copy, met]

[24] i.e., Sand it, to prevent it from blotting, while the ink was wet.—Steevens.

[25] i.e., compress, embrace her. See Mr Steevens's note on "Macbeth," act v. sc. 5.

[26] That is, no degree of relationship is sufficient to restrain the appetite of lust, scarce that of sister; they even approach to the rim or verge of what is the most prohibited.

[27] The quarto reads, lowde.

[28] The quarto reads, is good.—Steevens.

[29] [Old copy, portion.]

[30] Upon their good is the misreading of one old copy.—Collier.

[31] [Old copy, wearing.]

[32] To harry, Mr Steevens observes, is to use roughly. See note to "Antony and Cleopatra," act iii. sc. 3. See also Fuller's "Church History," lib. x. p. 19.—Gilchrist.

[33] [Old copy, ire.]

ACTUS II, SCÆNA 1.

Enter Castiza, the sister.

Enter Dondolo.

Don. Madonna, there is one as they say, a thing of flesh and blood—a man, I take him by his beard, that would very desirously mouth to mouth with you.

Cas. What's that?

Don. Show his teeth in your company.

Cas. I understand thee not.

Don. Why, speak with you, madonna.

Cas. Why, say so, madman, and cut off a great deal of dirty way; had it not been better spoke in ordinary words, that one would speak with me?

Don. Ha, ha! that's as ordinary as two shillings. I would strive a little to show myself in my place;[Pg 30] a gentleman-usher scorns to use the phrase and fancy of a serving-man.

[Exit Dondolo.

Enter Vendice, her brother, disguised.

[A box o' the ear to her brother.

Enter Gratiana.

Gra. O fie, fie! the riches of the world cannot hire a mother to such a most unnatural task.

[Aside.

[Aside.[41]

[Pg 34]

Enter Castiza.

Gra. Ay, to the duke: daughter, you'd scorn to think o' the devil, and you were there once.

Ven. True, for most there are as proud as he for his heart, i' faith. [Aside.

[Pg 37]

Why are there so few honest women, but because tis the poorer profession? that's accounted best that's best followed; least in trade, least in fashion; and that's not honesty, believe it; and do but note the love and dejected price of it—

[Pg 39]

Enter Lusurioso, with Hippolito.

[Aside.

[Aside.

Enter Vendice.

[Aside.

[Pg 41]

Ven. O, that's good manners, my lord; the mother for her age must go foremost, you know.

Lus. By this light, and so they can; give 'em their due, men are not comparable to 'em.

Ven. No, that's true; for you shall have one woman knit more in an hour, than any man can ravel again in seven-and-twenty years.

Ven. Office, my lord! marry, if I might have my wish, I would have one that was never begged yet.

Lus. Nay, then, thou canst have none.

Ven. Yes, my lord, I could pick out another office yet; nay, and keep a horse and drab upon't.

Lus. Prythee, good bluntness, tell me.

[Pg 42]

Ven. Why, I would desire but this, my lord—to have all the fees behind the arras, and all the farthingales that fall plump about twelve o'clock at night upon the rushes.

Lus. Thou'rt a mad, apprehensive[54] knave; dost think to make any great purchase of that?

Ven. O, 'tis an unknown thing, my lord; I wonder 't has been missed so long.

Enter Hippolito.

Enter Spurio and Servants.

Enter Lusurioso.

Re-enter Lusurioso and Vendice.

Enter Nobles and [Duchess's] Sons.

[Dissemble a fright.[62]

Enter Spurio with his villains.

Duke. Is't possible a son should be disobedient as far as the sword? It is the highest: he can go no[Pg 49] farther.

[Aside.

Enter Nobles.

[Exeunt.

FOOTNOTES:

[34] [Edits., myself. Gilchrist's correction.]

[35] [Old copy, by their.]

[36] [i.e., Next heir.]

[37] [Query, wheel of fortune. Perhaps we should read weal.]

[38] [Edits., fool.]

[39] See note on p. 40.

[40] [Old copy, suffering.]

[41] [A MS. note in one of the former edits., refers us to the closet scene in "Hamlet."]

[42] i.e., Embrace it. So again in this play—

i.e., cursed embraces.—Steevens.

[43] [Copies, you. This emendation was suggested by a MS. note in one of the former edits.]

[44] Alluding to the custom of hanging hats in ancient halls upon stags' horns.—Steevens.

[45] So in Lodge's "Wit's Miserie," p. 24: "What think you to a tender faire young, nay a weakling of womankind to wear whole Lordships and Manor-houses on her backe without sweating?" See also note to "The Miseries of Enforced Marriage," [ix. 490.]

[46] [Old copy, and met again. The word mete occurs again a little lower down. The meaning may be that they calculated their savings.]

[47] i.e., Measured. Petruchio, in "The Taming of the Shrew," calls the tailor's measuring-yard his mete-yard.—Steevens.

[48] i.e., Honesty.—Gilchrist.

[49] ["What splendid power of passion and imagery there is in this!"—MS. note in one of the former edits.]

[50] i.e., Intimate. See note to "The Spanish Tragedy," [v. 168]

[51] [Old copy, a fellow.]

[52] I decline, or lessen in courage. So Falstaff says: "Do I not bate? Do I not dwindle?" &c.

[53] [Edits., did me I.]

[54] i.e., Quick to understand. See Mr Steevens's note on "The Second Part of King Henry IV.," act iv. sc. 3.

[55] Alluding to the promise in the Fifth Commandment.

[56] [In their night-clothes.]

[57] Alluding to the custom of entering horses sold at fairs in a book called the "Toll-book." See note to "All's Well that Ends Well," edit. 1766, of Shakespeare, iv. 141.—Steevens.

[58] [Edits., Push.]

[59] Mr Reed assigned these two lines to Hippolito, a decided error, both by the sense and according to the old copy, which gives them to Vendice. He makes his brother stand back, while he addresses Lusurioso: My good lord; and Lusurioso naturally observes: Piato! why, the man I wished for, &c.—Collier.

[60] [Edits., lawyer's.]

[61] [Defile.] See note to "The Miseries of Enforced Marriage," [ix. 511.]

[62] The quarto reads, flight.

[63] [Liars.]

[64] [See at p. 53 the passage, our office shall be sound. In both places the word means, constant, true.]

[65] Some sudden fit of frenzy. Cotgrave translates "Avoir un quartier de la lune en la teste," to be half frantic, or have a spice of lunacy.

[66] [Hatred.]

ACTUS III., SCÆNA 1.

Enter Ambitioso and Supervacuo.

Enter, with the Nobles, Lusurioso from prison.

1st Noble. But our duties, my lord, unto the hopes that grow in you.

[Pg 53]

Enter Ambitioso and Supervacuo, with Officers.

Enter in prison Junior Brother and Keeper.

[Exit Keeper.

[Reads the letter.] Brother, be of good cheer;

I'll be mad. Is't not strange that a man should lie-in a whole month for a woman? Well, we shall see how sudden our brothers will be in their promise. I must expect still a trick: I shall not be long a prisoner. How now, what news?

Enter Keeper.

Enter Officers.

2d Officer. That may hold too, sir; for you know a trick is commonly four cards, which was meant by us four officers.

Enter Vendice and Hippolito.[72]

Enter Vendice, with the skull of his love dressed up in tires.

Enter Duke and Gentlemen.

Ven. Faith, my lord, a country lady, a little bashful at first, as most of them are; but after[Pg 63] the first kiss, my lord, the worst is past with them. Your grace knows now what you have to do; she has somewhat a grave look with her—but—

[Stamping on him.

[Discovers himself.

Enter the Bastard, meeting the Duchess.

Enter the Duchess's two sons, Ambitioso and Supervacuo.

Enter an Officer.

Enter Lusurioso.

Amb. A murrain meet 'em; there's none of these wiles that ever come to good: I see now, there's nothing sure in mortality, but mortality.

FOOTNOTES:

[67] The 4o reads, Which arise, &c.—Collier.

[68] [Edits., impudent. The least imprudent is equivalent to the most farsighted or wary.]

[69] i.e., Hat.

[70] Stopped. See several instances of the use of this word in Mr Steevens's note on "Romeo and Juliet," act i. sc. 3.

[71] Alluding, I think, to Duns Scotus, who commented upon "The Master of the Sentences."—Pegge.

Duns Scotus was an English Franciscan Friar who, differing from Thomas Aquinas, occasioned a famous scholastic division, known by the titles of Thomists and Scotists. He died at Paris in 1308. Erasmus, who had a very low opinion of this writer, in his "Praise of Folie," 1549, sig. N 3, says: "Lykewise not longe agone I was present at the sermon of an other famous doctour being almost 80 yeres old, and thereto so doctour lyke, as if Duns were new arisen in him, who entending to disclose the mistery of the name of Jesu, with great subtiltie shewed, how evin in the verie letters was muche pithe included, and might be gathered thereof."

[72] ["A splendid scene."—MS. note.]

[73] ["This, I think, is very fine, where we ... words that precede it...."—MS, note (partly illegible) in one of the former edits.]

[74] It stood in the last edition [1780]: "Some darken'd blushless angel," &c., which renders the passage utter nonsense.—Collier.

[75] ["He imagines her speaking, and answers her."—MS. note in one of the former edits.]

[76] [Sinner.]

[77] See note at p. 35.

[78] This passage and the preceding exclamation have been restored from the old copy of 1607, having been omitted both by Dodsley and Reed.—Collier.

ACTUS IV., SCÆNA 1.

Enter Lusurioso, with Hippolito.

Enter Vendice.

Enter Nobles.

Enter Vendice and Hippolito. Vendice out of his disguise.

Enter Lusurioso.

[Snatches off his hat, and makes legs to him.

Ven. Why, going to law.

Lus. Why, will that make a man melancholy?

Ven. Yes, to look long upon ink and black buckram. I went me to law in anno quadragesimo secundo, and I waded out of it in anno sexagesimo tertio.

Lus. What, three-and-twenty years in law?

Ven. I have known those that have been five-and-fifty, and all about pullen[83] and pigs.

Lus. May it be possible such men should breathe, To vex the terms so much?

Ven. Tis food to some, my lord. There are old men at the present, that are so poisoned with the affectation of law-words (having had many suits canvassed), that their common talk is nothing but Barbary Latin. They cannot so much as pray but in law, that their sins may be removed with a writ of error, and their souls fetched up to heaven with a sasarara.[84]

Ven. Study? why, to think how a great rich man lies a-dying, and a poor cobbler tolls the bell [Pg 77]for him. How he cannot depart the world, and see the great chest stand before him, when he lies speechless. How he will point you readily to all the boxes; and when he is past all memory, as the gossips guess, then thinks he of forfeitures and obligations; nay, when to all men's hearings he whurls and rattles in the throat, he's busy threatening his poor tenants. And this would last me now some seven years' thinking, or thereabouts. But I have a conceit a-coming in picture upon this; I draw it myself, which, i' faith, la, I'll present to your honour; you shall not choose but like it, for your honour shall give me nothing for it.

Ven. Marry, this it is—A usuring father to be boiling in hell, and his son and heir with a whore dancing over him.

[Aside.

Ven. And as for the son and heir, he shall be an eyesore to no young revellers, for he shall be drawn in cloth-of-gold breeches.

[Aside.

[Gives him money.

[Exit Hippolito.

Enter Hippolito.

It will be thought I, which he calls the pander, did kill the duke, and fled away in his apparel, leaving him so disguised to avoid swift pursuit.

FOOTNOTES:

[79] [Weak, treacherous.]

[80] The Nobles enter is printed in the 4o, as if it were a part of the speech of Lusurioso.—Collier.

[81] [Edits., god.]

[82] [Edits., on't.]

[83] Poultry.

[84] A vulgar corruption of certiorari.—Pegge.

[85] Mr Gilchrist would substitute Lusurioso for Hippolito here; but the change is not necessary to the sense, and is not supported by the quartos.—Collier.

[86] ["Mark the transition from prose to verse."—MS. note in former edit.]

[87] [Like.]

[88] How art thou now? the inquiry has stood in previous editions, but How are they now? is the correct reading restored from the old copy. The words have reference to Vendice's eyes.—Collier.

[89] [Edits., five.]

[90] The same thought occurs in "Othello," act v. sc. 2—

[91] The 4o reads, methought.—Collier.

ACTUS V.[92]

Enter the Duchess, arm in arm with Spurio: he seemeth lasciviously to look on her. After them, enter Supervacuo running, with a rapier; Ambitioso stops him.

Enter Vendice and Hippolito, bringing out their mother, one by one shoulder, and the other by the other, with daggers in their hands.

Enter Castiza.

Enter Vendice and Hippolito.

Ven. So, so, he leans well; take heed you wake him not, brother.

Hip. I warrant you my life for yours.

Ven. That's a good lay, for I must kill myself. Brother, that's I, that sits for me: do you mark it? And I must stand ready here to make away myself yonder. I must sit to be killed, and stand to kill myself. I could vary it not so little as thrice over again; 't has some eight returns, like Michaelmas term.[108]

Hip. That's enou', o' conscience.

Ven. But, sirrah, does the duke's son come single?

Hip. No; there's the hell on't: his faith's too feeble to go alone. He brings flesh-flies after him, that will buzz against supper-time, and hum for his coming out.

Ven. Ah, the fly-flap of vengeance beat 'em to pieces! Here was the sweetest occasion, the fittest hour, to have made my revenge familiar with him; show him the body of the duke his father, and how quaintly he died, like a politician, in hugger-mugger,[109] made no man acquainted with it; and in catastrophe slain him over his father's breast. O, I'm mad to lose such a sweet opportunity!

Hip. Nay, pish! prythee, be content! there's no remedy present; may not hereafter times open in as fair faces as this?