A SELECT COLLECTION OF OLD ENGLISH PLAYS.

ORIGINALLY PUBLISHED BY ROBERT DODSLEY IN THE YEAR 1744.

FOURTH EDITION,

NOW FIRST CHRONOLOGICALLY ARRANGED, REVISED AND ENLARGED WITH THE NOTES OF ALL THE COMMENTATORS, AND NEW NOTES

BY

W. CAREW HAZLITT.

BENJAMIN BLOM, INC.

New York

First published 1874-1876 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.

THE REBELLION.

[2]

EDITION.

The Rebellion; a Tragedy: As it was acted nine dayes together, and divers times since, with good applause, by his Majesties Company of Revells. Written by Thomas Rawlins. London: Printed by I. Okes, for Daniell Frere, and are to be sold at the Signe of the Red Bull in Little Brittaine. 1640, 4o.[1]

[3]

INTRODUCTION.

Thomas Rawlins, author of "The Rebellion," was a medallist by profession, and afterwards became an engraver of the Mint, a vocation which, in his preface, he prefers to the threadbare occupation of a poet. [He also employed his talents occasionally in engraving frontispieces and portraits for books, of which several signed specimens are known.[2] It is said that he died in 1670.] It is an argument, as well of his personal respectability, as of his easy circumstances, that no fewer than eleven copies of prefatory verses, by the wits of the time, are prefixed to the old edition. Notwithstanding the popularity of the piece, [which, as it appears from the introductory poems, was composed by Rawlins in early life,] and several passages of real merit, it was [only once] republished, perhaps because rebellion soon assumed the whole kingdom for its stage.

[Besides his play, Rawlins published in 1648 an octavo volume of poems, written also in his youth, under the title of "Calanthe."[3]]

[4]

TO THE WORSHIPFUL, AND HIS HONOURED KINSMAN,

ROBERT DUCIE,[4]

OF ASTON, IN THE COUNTY OF STAFFORD, ESQUIRE;

SON TO SIR R. DUCIE, KNIGHT AND BARONET, DECEASED.

Sir,—Not to boast of any perfections, I have never yet been owner of ingratitude, and would be loth envy should tax me now, having at this time opportunity to pay part of that debt I owe your love. This tragedy had at the presentment a general applause; yet I have not that want of modesty as to conclude it wholly worthy your patronage, although I have been bold to fix your name unto it. Yet, however, your charity will be famous in protecting this plant from the breath of Zoilus, and forgiving this my confidence, and your acceptance cherish a study of a more deserving piece, to quit the remainder of the engagement. In

Your kinsman, ready to serve you, THOMAS RAWLINS.

[5]

TO THE READER.

Reader, if courteous, I have not so little faith as to fear thy censure, since thou knowest youth hath many faults, whereon I depend, although my ignorance of the stage is also a sufficient excuse. If I have committed any, let thy candour judge mildly of them; and think not those voluntary favours of my friends (by whose compulsive persuasions I have published this) are commendations of my seeking, or through a desire in me to increase the volume, but rather a care that you (since that I have been over-entreated to present it to you) might find therein something worth your time. Take no notice of my name, for a second work of this nature shall hardly bear it. I have no desire to be known by a threadbare cloak, having a calling that will maintain it woolly. Farewell.

TO HIS LOVING FRIEND THE AUTHOR,

UPON HIS TRAGEDY "THE REBELLION."

Nath. Richards. [5]

TO HIS WORTHY ESTEEMED MASTER,

THOMAS RAWLINS, ON HIS "REBELLION."

C. G.[6]

TO MY FRIEND MASTER RAWLINS,

UPON THIS PLAY, HIS WORK.

Robert Davenport.[7]

TO THE AUTHOR, ON HIS "REBELLION."

R. W.[8]

TO HIS DEAR FRIEND, MR. THOMAS RAWLINS.

Robert Chamberlain.[9]

TO HIS FRIEND, MASTER THOMAS RAWLINS,

ON HIS PLAY CALLED "THE REBELLION."

T. Jourdan.[10]

TO THE AUTHOR, MASTER THOMAS RAWLINS.

I. Gough.[11]

TO THE INGENIOUS AUTHOR.

E. B.[12]

TO HIS FRIEND THE AUTHOR.

I. Tatham.[13]

ON MASTER RAWLINS AND HIS TAILOR, IN "THE REBELLION."

I. Knight.[14]

TO HIS INGENIOUS FRIEND, MASTER RAWLINS,

THE AUTHOR OF "THE REBELLION."

Jo. Meriell.[15]

[14]

DRAMATIS PERSONÆ.

Alerzo, Fulgentio, Pandolpho,

}

three Spanish colonels.

Leonis, Gilberti, Firenzo,

}

three French colonels.

Attendants.

Scene—Seville.

[15]

THE REBELLION.

ACT I., SCENE 1.

Enter severally, Alerzo, Fulgentio, and Pandolpho.

[To them enter Antonio.

[Whilst they salute Antonio, enters Count Machiavel.

[Exit behind the hangings.

[Exit.

[18]

Enter Machiavel from behind the hangings.

Aler. Let's away.

[Exeunt: manet Machiavel.

[Exit.

[19]

Enter Evadne and Nurse.

[Knocks within.

Nur. O, 'tis my love! I come.

[Exit.

Enter Nurse and Giovanno with a gown.

Gio. Yonder she is, and walks, yet in sense strong enough to maintain argument; she's under my cloak; for the best part of a lady, as this age goes, is her clothes; in what reckoning ought we tailors to be esteemed then, that are the master-workmen to correct nature! You shall have a lady, in a dialogue with some gallant touching his suit, the better part of man, so suck the breath that names the skilful tailor, as if it nourished her. Another Donna fly from the close embracements of her lord, to be all-over-measured by her tailor.[21] One will be sick, forsooth, and bid her maid deny her to this don, that earl, the other marquis, nay, to a duke; yet let her tailor lace and unlace her gown, so round the skirts to fit her to the fashion. Here's one has in my sight made many a noble don to hang the head, dukes and marquises, three in a morning, break their fasts on her denials; yet I, her tailor, blessed be the kindness of my loving stars, am ushered; she smiles, and says I have stayed too long, and then finds fault with some slight stitch, that

eyelet-hole's too close, then must I use my bodkin, 'twill never please else; all will not do. I must take it home for no cause but to bring it her again next morning. We tailors are the men, spite o' the proverb, ladies cannot live without. It is we

[Aside.]

[Aside.]

[Exit.

[Aside.]

[Aside.

[23]

[She faints.

To them enter Nurse.

[Exit.

Antonio meets him.

[Exit.

[Exit.

[26]

Alarum. Enter Raymond, Philippa, Leonis, Gilberti, and Firenzo.

[Kiss.

[He kisses her.

[Exeunt.

Enter Giovanno, Old Tailor, Vermin, and two more.

Gio. Come, bullies, come; we must forsake the use of nimble shears, and now betake us to our Spanish needles, stiletto blades, and prove the proverb lies, lies in his throat: one tailor can erect sixteen, nay more, of upstart gentlemen, known by their clothes, and leave enough materials in hell to damn a broker.

O. Tai. We must to the wars, my boys.

Ver. How, master, to the wars?

O. Tai. Ay, to the wars, Vermin; what say'st thou to that?

Ver. Nothing, but that I had rather stay at home: O, the good penny-bread at breakfasts that I shall lose! Master, good master, let me alone to live with honest John, noble John Black.

2d Tai. Wilt thou disgrace thy worthy calling, Vermin?

Ver. No, but I am afraid my calling will disgrace me: I shall be gaping for my morning's loaf and dram of ale, I shall; and now and then look for a cabbage-leaf or an odd remnant to clothe my bashful buttocks.

[28]

O. Tai. You shall.

Ver. Yes, marry; why, I hope poor Vermin must be fed, and will be fed, or I'll torment you.

Gio. Master, I take privilege from your love to hearten on my fellows.

O. Tai. Ay, ay, do, do, good boy.

[Exit.

3d Tai. Come, Vermin, come.

Ver. Nay, if Vermin slip from the back of a tailor, spit him with a Spanish needle: or torment him in the louse's engine—your two thumb-nails.

[Exit all but Giovanno.

[Exit.

ACT II., SCENE 1.

A table and chairs.

Enter (after a shout crying Antonio) the Governor and Count Machiavel.

[Aside.

To them Antonio, Alerzo, Fulgentio, and Pandolpho: they sit in council.

[Aside.]

Pan. He's almost out.

[Aside.]

[Aside.

[Aside.

[Aside.]

Ful. No, I'm reform'd; he's valiant.

[Aside.]

[Aside.

Aler. And becomes the tongue of young Antonio.

[Aside.

[Aside.

Ful. Noble Antonio!

[Aside.

Aler. Brave-spirited lord!

[Aside.

Ful. The mirror of a soldier!

[Aside.

[They fight all in a confused manner: Antonio kills the Governor, Machiavel falls.

[34]

[Exeunt.

[Exit Antonio.

[A shout within, crying Antonio.

[35]

Enter Giovanno, Evadne, and Nurse.

Gio. 'Tis a neat gown, and fashionable, madam; is't not, love?

Nur. Upon my virginity, wonderful handsome: dear, when we are married, I'll have such a one; shall I not, chicken, ha?

Gio. What else, kind nurse?

Nur. Truly you tailors are the most sanctified members of a kingdom: how many crooked and untoward bodies have you set upright, that they go now so straight in their lives and conversation, as the proudest on them all?

Gio. That's certain, none prouder.

Evad. How mean you, sir?

Gio. Faith, madam, your crooked movables in artificial bodies, that rectify the deformity of nature's overplus, as bunching backs: or scarcity, as scanty shoulders—are the proudest creatures; you shall have them jet it with an undaunted boldness; for the truth is, what they want in substance they have in air: they will scold the tailor out of his art, and impute the defect of nature to his want of skill, though his labour make her appearance pride-worthy.

Nur. Well said, my bird's-nye, stand for the credit of tailors whilst thou livest; wilt thou not, chuck? Ha, say'st thou, my dear?

Gio. I were ungrateful else.

Evad. Nurse, pray leave us, your presence makes your sweetheart negligent of what he comes about; pray, be won to leave us here.

[Exit.

[Aside.

[Kisses.

[He kisses her.

[37]

Evad. I'll smother that harsh breath.

[She kisses him.

Gio. Again I countercheck it.

[Kiss.

Enter Antonio, as pursued; he sees them, and stands amazed.

Enter Machiavel with Officers.

[Exit.

[Exit with Officers.

[Exeunt. A noise within, crying Rescue, rescue! Enter Antonio and Guard; to them Giovanno and Tailors, and rescue him, and beat them off.

Enter an Officer, meeting Machiavel.

[Exit.

Enter Giovanno, Antonio, and the Old Tailor.

Ant. My sister! worthy tailor, 'tis a gift lies not in me to give: ask something else, 'tis thine, although it be gained with the quite extinguishing of this—this breath you gave me.

Gio. Have not I——

Ant. Speak no further; I confess you have been all unto me, life and being; I breathe but with your licence: will no price buy out your interest in me but her love? I tell thee, tailor, I have[40] blood runs in me, Spain cannot match for greatness next her kings. Yet, to requite thy love, I'll call thee friend; be thou Antonio's friend—a favour nobles have thirsted for: will this requite thee?

Gio. Sir, this may, but——

Ant. My sister, thou wouldst say, most worthy tailor; she's not mine to give; honour spake in my dying father: 'tis a sentence that's registered here in Antonio's heart—I must not wed her but to one in blood calls honour father. Prythee, be my friend; forget I have a sister; in love I'll be more than a brother, though not to mingle blood.

Gio. May I not call her mistress?

Ant. As a servant, far from the thoughts of wedlock.

[Exit.

[Exit.

After a confused noise within, enter Raymond, Leonis, Gilberti, hastily.

[A shout within.

[Again within.

Alarum. Enter a Soldier bloody.

Sol. The bold Spaniards, setting aside all cold acknowledgment of any odds, or notice of the number our army is made proud with, sends from their walls more lightning than great Jove affrights the trembling world with, when the air is turn'd to mutiny.

Ray. Villain, thou liest; 'twere madness to believe thee. Foolish Spain may, like those giants that heap hill on hill, mountain on mountain, to pluck Jove from heaven, who with a hand of vengeance flung 'em down beneath the centre, and those cloud-contemning mounts heav'd by the strength of their ambitious arms, became their monuments; so Spain's rash folly from this arm of mine shall find their graves amongst the rubbish of their ruin'd cities.

Enter a second Soldier.

What, another! thy hasty news?

2d Mess. The daring enemies have through[43] their gates made a victorious sally: all our troops have jointly, like the dust before the wind, made a dishonoured flight. Hark!

[Alarum within.]

The conquering foe makes hitherward.

Ray. Run to my tent, fetch my Philippa, slave. Why movest thou not?

2d Mess. The enemy's upon us.

Ray. Shall I send thy coward soul down the vaults of horror? Fly, villain, or thou diest!

[Strikes him.

Alarum. Enter Machiavel, Alerzo, Fulgentio, Pandolpho, with Philippa prisoner, Giovanno with Tailor.

Phil. 'Twere sin to rob him that has wasted so his blood for praise: this noble soldier, he 'twas made me captive; nor can he boast 'twas in an easy combat; for my good sword, now ravish'd from mine arm, forc'd crimson drops that, like a gory sweat, buried his manly body in oblivion: those that were skill'd in his effigies, as drunk with Lethe, had forgot 'twas he; till by the drawing[45] of the rueful curtain, they saw in him their error.

Ful.

Pan.

Aler.

}

How?

Gio. So.

Ful.

Pan.

Aler.

}

Let's reward his boldness.

[They fall upon Giovanno.

Mach. Whence this rashness?

Ray. Bless'd occasion! let's on 'em.

[The French whisper. The French fly upon 'em: they turn to their Guard, and beat 'em off.

ACT III., SCENE 1.

Enter Machiavel, Fulgentio, Pandolpho, Alerzo, Giovanno, with Raymond prisoner, and the rest of the Tailors.

[Whisper.

[Exit.

Mach. My house shall be your prison. Attend 'em, colonel.

[Exeunt Raymond, Philippa, Alerzo, Fulgentio, Pandolpho, Giovanno,[24] &c. Manent Tailors.

Ful. Please you walk.

1st Tai. My servant banish'd?

3d Tai. Famish'd, master? nay, faith, and a tailor come to be famish'd, 'tis a hard world: no bread in this world here, ho, to save the renown'd corpse of a tailor from famishing! 'Tis no matter for drink: give me bread.

2d Tai. Thou hast a gut would swallow a peck-loaf.

3d Tai. Ay, marry would it with vantage; I tell truth, and, as the proverb says, shame the devil; if our hell afford a devil, but I see none, unless he appear in a delicious remnant of nim'd satin, and, by my faith, that's a courteous devil that suffers the brokers to hang him in their ragged wardrobe; and used to sell his devilship for money: I tell truth. A tailor, and lie? faith, I scorn that.

1st Tai. Leave your discovery.

3d Tai. Master, a traveller, you know, is famous for lying; and having travelled as far as hell, may not I make description of the unknown land?

1st Tai. My brain is busy, Sebastiano must not tread an unknown land to find a grave. Unfortunate Sebastiano! First to lose thyself in a disguise,[49] unfitting for thy birth, and then thy country for thy too much valour:

[Exit cum suis.

Enter Machiavel solus.

Enter Auristella.

[Exit.

[Exit.

Antonio, disguised, sitting in a closet.

[Sleeps.

Soft music; Love descends half-way, then speaks.

[53]

Enter from one side Death, and from the other side Aurelia; Death strikes three times at Antonio, and Aurelia diverts it. Exeunt severally.

[Ascendat.[26]

Enter Giovanno and the Old Tailor.

[Exit.

Ant. Farewell, good master.

[Exit.

[Exit.

Enter Raymond and Philippa.

Ray. No, were you a woman made of such coarse ingredients as the common, which in our trivial phrase we call mere women, I would not trust thee with a cause so weighty, that the discovery did endanger this—this hair that, when 'tis gone, a lynx's [eye] cannot miss it: but you are—I want expressions, 'tis not common words can speak you truly—you are more than woman.

Phil. My lord, you know my temper, and how to win upon my heart.

[Exit.

Enter a Criminal Judge and Officers, with Antonio; Petruchio and Aurelia meet him, with Servants.

[Exit with his.[29]

[Aside.

Pet. Come, sir, to my castle.

Aur. Fie on you, sir; to kill a governor, it is a fact death cannot appear too horrible to punish.

[Exeunt.

[58]

Aurelia sola.

[Exit.

ACT IV., SCENE 1.

Enter Giovanno mad, solus.

[Within.

[Within.

Gio. I come, I come.

[Exit.

Enter the Bandit dragging Evadne by the hair: she drops a scarf. Exeunt.

Enter Giovanno again.

[Exit.

Thunder and lightning. Enter the Bandit, with Evadne by the hair.

Capt. Come, bring her forward; tie her to that tree, each man shall have his turn: come, minion, you must [now] squench the raging flames of my concupiscence: what, do you weep, you puritanical punk? I shall tickle mirth into you by and by. Trotter, good Trotter, post unto my cell, make compound of muskadine and eggs; for the truth is I am a giant in my promises, but in the act a pigmy: I am old, and cannot do as I have done; good Trotter, make all convenient speed.

Trot. Faith, master, if you cannot, here's them that can ferret in a coney-burrow without a provocative; I'll warrant you, good master.

Capt. No more, I say, it is a parcel of excellent mutton: I'll cut it up myself. Come, minion.

[Exit Trotter. The Captain takes his dagger and winds it about her hair, and sticks it in the ground. Thunder and lightning.

Enter Trotter.

Trot. O captain, captain! yonder is the mad Orlando the furious, and I think he takes me for——What do you call him?

Capt. What, Medor?[31]

Trot. Ay, ay, Medor: the devil Medor him, he has so nuddled[32] me——O, here he comes: I'll be gone.

[Exit.

Enter Giovanno.

[He beats them off, and unbinds Evadne.

[Aside.]

Evad. Pray you, sir, unto the bond of what I owe you, which is a poor distressed virgin's life, add this one debt: [tell me,] what are you?

Gio. Not worth your knowledge: I am a poor, a very, very poor despised thing: but say, I pray, are you sure your name's Evadne?

Evad. 'Tis questionless my tailor. [Aside.] I am she; receive me to your arms not alter'd in my heart, though in my clothes.

Gio. I do believe you, indeed I do; but stay, I don't. Are you a maid, a virgin, pray, tell me? for my Evadne could not tell a lie; speak, I shall love you, though that jewel's gone.

[Aside.]

[Aside.]

[Exeunt.

[65]

A banquet is set forth: enter Petruchio, Aurelia, with two Servants bringing Antonio asleep in a chair, and set him to the table.

[Exit Petruchio.

[She takes a dog, and ties it to the chair: she stamps: the chair and dog descend: a pistol-shot within: a noise of a mill.

[A noise.

[Exeunt.

Enter Petruchio with servants.

[Exit with the banquet.

Giovanno is discovered sleeping in the lap of Evadne.

Enter Antonio and Aurelia in hermits' gowns.

[He wakes.

[To Antonio.

Aur. Brother!

[To Giovanno.

[Exeunt.

Enter three Tailors on a shop-board.

1st Tai. Come, come, let's work; for if my guesses point the right, we shan't work long.

3d Tai. I care not how soon. I have a notable stomach to bread.

2d Tai. Dost hear, I suspect that courtier my master brought in last night to be the king; which if it be, bullies, all the bread in the town shan't satisfy us, for we will eat Cum privilegio.

1st Tai. Come, let's have a device, a thing, a song, boy.

3d Tai. Come, an air——

The Song.

All Tai. For which we, &c.

Enter Antonio, Giovanno, and the Old Tailor.

[Exit Antonio.

[Exeunt.

Enter the King, Evadne, and Aurelia.

[Aside.

[Exeunt.

Enter Antonio disguised like a physician.

Enter Machiavel, Auristella leaning on his arm, with two Servants.

[Aside.

[Aside.

[Aside.

Mach. Follow me to the council.

[Exit.

[Aside.

[Exit.

[Exit.

Enter Giovanno and Philippa.

Gio. Begare, madam, me make de gowne so brave; O, de hole vorle[37] be me patron; me ha vorke for le grand duches le Shevere, le royne de Francia, Spagna, de Angleter, and all d' fine madamosels.

Phil. Nay, monsieur, to deprive desert of praise is unknown language; troth, I use it not; nay, it is very well.

Gio. Be me trot, a, madam, me ner do ill, de English man do ill, de Spanere do, de Duch, de all do ill but your Franchman, and, begare, he do incomparable brave.

Phil. Y' are too proud on't.

[76]

Gio. Begare, me no proud i de vorle, me speak be me trot de trut, ang me no lie: metra, madam, begare, you have de find bode a de vorle, O de fine brave big ting me have ever measure, me waire fit it so pat.[38]

Enter Raymond.

Gio. Begare, me no ned de threaten, me be as close to your secret, or my lady's secrets, as de skin to de flesh—de flesh to de bone: if me tell, call me de—vat de ye call de moder o de dog, de bich; call me de son o de bich.

Enter Fulgentio.

[Exeunt.

[Exit.

ACT V., SCENE 1.

Enter the King, Antonio, Old Tailor, Evadne, Aurelia. The King and Antonio whisper.

[Exit.

Enter Giovanno.

[Exeunt.

Enter Tailors.