A SELECT COLLECTION OF OLD ENGLISH PLAYS.

BY W. CAREW HAZLITT.

New York

ELVIRA OR THE WORST NOT ALWAYS TRUE.

[Pg 2]

EDITION.

Elvira: Or, The worst not always true. A Comedy, Written by a Person of Quality. Licenced May 15th, 1667, Roger L'Estrange. London, Printed by E. Cotes for Henry Brome in Little-Brittain. 1667. 4o.

[Pg 3]

INTRODUCTION.

George Digby, Earl of Bristol, was the author of the following play. He was, as Mr. Walpole[1] observes, "a singular person, whose life was one contradiction. He wrote against Popery, and embraced it; he was a zealous opposer of the Court, and a sacrifice for it; was conscientiously converted in the midst of his prosecution of Lord Strafford, and was most unconscientiously a prosecutor of Lord Clarendon. With great parts, he always hurt himself and his friends; with romantic bravery, he was always an unsuccessful commander. He spoke for the Test Act, though a Roman Catholic; and addicted himself to astrology on the birthday of true philosophy." The histories of England abound with the adventures of this inconsistent and eccentric nobleman who, amongst his other pursuits, esteemed the drama not unworthy of his attention. Downes, the prompter,[2] asserts that he wrote two plays between the years 1662 and 1665, made out of the Spanish; one called "'Tis better than it was," and the other entitled "Worse and Worse." Whether either of these is the

[Pg 4]present performance cannot now be ascertained. It is, however, at least probable to be one of them with a new title.[3] The same writer says he also joined with Sir Samuel Tuke in the composition of "The Adventures of Five Hours." "Elvira" was printed in the year 1667, and Mr Walpole imagines that it occasioned our author being introduced into Sir John Suckling's Session of Poets, a conjecture which, however, will by no means correspond with the time in which Lord Bristol and Sir John Suckling are supposed to have written the respective works before mentioned. From the notice taken of him by Sir John Suckling as a poet, he seems to have been the author of some pieces which are now lost to the world.[4] After a life, which at different periods of it commanded both the respect and contempt of mankind, and not unfrequently the same sentiments at one time, he died, neither loved nor regretted by any party, in the year 1676.

[A MS. note in one of the former editions says: "A play of pure intrigue.—Style feeble and drawling.—Plot extremely complicated, and quite unintelligible without a most fixed attention, which, however, the play has not merit enough to excite. July 1819."]

FOOTNOTES:

[1] "Catalogue of Royal and Noble Authors," ii. 25.

[2] "Roscius Anglicanus," 1708, p. 25.

[3] P. 22.

[4] It is not easy to find out why this inference is drawn, since Sir J. Suckling only mentions him by name, with three others comparatively little known.

"Session of the Poets."—Collier. [But the Digby here mentioned was Sir Kenelm Digby, surely.]

[Pg 5]

DRAMATIS PERSONÆ.

Scene, Valencia.

[Pg 6] [Pg 7]

ELVIRA; OR, THE WORST NOT ALWAYS TRUE.[5]

ACT I.

The room in the inn.

Enter Don Fernando, and at another door his servant Fabio, both in riding-clothes.

Enter Donna Elvira.

[With a kind of scornful accent.

Enter Fabio.

Enter Don Julio: Don Fernando and he embrace.

Enter Elvira as from the closet.

[Pg 16]

[Don Julio starts back as it were amazed.

Don J. [Addressing himself to her, and beginning; she holding out her hand and interrupting him.] Madam——

[Exit Julio, Fernando accompanying him, and Fabio.

Enter Donna Blanca at one door, reading a paper, with great marks of passion and disturbance; and her waiting-woman Francisca at another, observing her.

[Francisca takes the letter and reads it.

"Madam, to make good my engagements of concealing nothing from you during this absence of my master, I am bound to tell you that some ten days since, late at night, he was left for dead, run through the body by another unknown gallant, in the chamber of a famed beauty of the court. Whilst the danger continued, I thought it not fit to let you know either the accident or the occasion; which, now he is recovered, and think[Pg 18]ing of his return to Valencia, I must no longer forbear. I hope you will have a care not to undo me for being more faithful to you than to the master you gave me.—Your creature,

"Chichon."

[Pg 19]

Enter a Page with a letter, and Elvira. The Page presents the letter to Blanca; she addresses herself to Elvira, and she throws up her veil.

[Having read the letter.

[Aside. Francisca embraces Elvira.

[Pg 21]

[Exeunt Elvira and Francisca.

Enter Don Zancho and Chichon his man, in riding-habits.

Enter Don Julio, and knocks as at Blanca's door.

Enter Blanca.

Enter Francisca.

[Exit Francisca.

Enter Francisca with Elvira. Don Julio salutes her.

[Exeunt Elvira and Francisca.

FOOTNOTES:

[5] The errors Dodsley committed, and Reed allowed to remain, in the course of this play, were very numerous: it has been thought worth while to point out only a few of them in the notes.—Collier.

[6] The substitution of my for her, in opposition to the authority of the old copy, till now made this passage unintelligible.—Collier.

[7] In former editions misprinted—

"Away with thy formalities, dull creature!"—

which destroys all the spirit of the exclamation.—Collier.

[8] The old copy inserts in the margin opposite Elvira the words by the name of Silvia merely to show more distinctly that Elvira was to pass by that name, which is inserted before what she says.—Collier.

[9] The heat of the day, from noon forwards. So called from Hora Sexta, noonday, a time when the Spanish ladies retire to sleep.

[10] It is singular that in the old copy the author should here have inserted the Spanish verb regalar instead of the English one.—Collier.

[Pg 25]

ACT II.

Scene changes to the room in the inn. Enter Don Julio and Don Fernando.

[As they are going out, enter Fabio hastily.

Scene changes to the prospect of Valencia. Enter Don Zancho and Chichon, as in the street near Don Julio's house.

[Aside to Don Zancho.

Scene changes to the room in the inn. Enter Don Julio and Don Fernando.

Scene changes to Blanca's antechamber. Enter Donna Blanca and Francisca.

Enter Don Zancho and Chichon.

[Donna Blanca casting an eye that way, and Chichon clinging up close behind his master, and making a mouth.

[To his master, aside.

[Advancing to him, and as it were embracing him with an affected cheerfulness.

[Don Zancho stands awhile as amazed, with folded arms. Chichon behind his master, holding up his hands, and making a pitiful face; Francisca steals to him, and holding up her hand threateningly—

[Aside to Francisca.

[She turns as going away, and Don Zancho holds her gently by the gown.

[Don Zancho and Chichon go behind the hanging, and Donna Blanca, retiring to her chamber, says—

[Exit, and Francisca at another door with the lights.

Francisca re-enters with Don Julio.

[Exit Don Julio, Francisca lighting him with one of the lights. Chichon peeping out from behind the hangings.

Enter Francisca, and Chichon starts back.

[Chichon looks out.

Re-enter Francisca, and comes to the hanging.

[Exit Francisca, and Chichon retires.

[Pg 33]

Scene changes to Blanca's Bed-chamber. Enter Blanca and Elvira; and soon after Francisca, as in Blanca's chamber, she sitting at her toilet undressing.

Enter Don Julio. Elvira offers to unpin her gorget.

[Julio goes to Elvira, and taking her by the hand, leads her away.

[To Elvira, as he leads her.

[Exeunt Julio and Elvira.

Enter Don Julio.

[As he is going.

Scene changes to the room in the inn. Enter Don Fernando and Fabio.

Scene changes to Donna Blanca's antechamber. Enter Francisca, and goes to the hanging where Don Zancho and Chichon are hid.

[Don Zancho and Chichon come out from behind the hanging, and follow her, as leading to the balcony. [Exeunt.

[And soon after Don Zancho and Chichon appear as in the balcony, and Francisca's head as peeping out of the door into it.

Scene changes to the prospect of Valencia. Enter Fabio as in the street, and settling himself in a porch.

[Fabio, looking up, perceives them in the balcony.

[Don Zancho gets over the balcony, and letting himself down at arm's length, leaps gently into the street. Chichon offers at the like, but takes a fall as he lights, and (rising) counterfeits lameness. Francisca retires, and locks the balcony.

[He pauses, scratching his head.

[Pg 38]

[Exeunt Don Zancho and Chichon, as turning down the next street.

Enter Don Pedro and Fulvio.

[Fulvio knocks at Don Julio's door, and nobody answers.

[He knocks again, and one asks as from within, Who's there?

[Pg 39]

[Exeunt; Fabio stealing after them.

Scene changes to a room in the inn. Enter Don Fernando alone, as in his chamber.

[He walks about the room pensively.

Enter Fabio.

[Exit Fabio, as to the chamber within.

Scene changes to the room in Zancho's house. Enter Don Zancho; and Chichon, as at home, halting.

[He makes as if he would sit down, and Don Zancho giving him a kick on the breech.

FOOTNOTES:

[11] See an early note to "The Adventures of Five Hours" in the present volume.

[12] [i.e., In a snare. See Hazlitt's "Proverbs," 1869, p. 200, where it is shown that the earlier phrase is Cob's pound.]

[13] [A common proverbial expression.]

ACT III.

Enter Don Fernando and Fabio, as in the room in the inn.

Enter Don Julio.

[Fabio looks in.

Enter Don Pedro and Fulvio, as in their new lodgings.

[Exeunt Don Pedro and Fulvio.

Enter Don Julio and Don Fernando, as in the outward room of the inn.

Enter Donna Blanca and Francisca, as in Blanca's antechamber.

[She stops, seeing Elvira coming.

Enter Elvira, with a fine basin of flowers.

[Blanca turns away, and exit as into her closet.

Enter Don Julio and Elvira, as in Blanca's chamber.

Enter Blanca and Francisca.

Scene changes to Don Zancho's house. Enter Don Zancho, and Chichon limping.

Scene changes to a fine pleasant apartment. Enter Don Julio, and knocks, as at the door of his private apartment: Fernando opens the door and lets him in.

Scene changes to Don Julio's antechamber. Enter Don Pedro and his Servant, and Don Julio and a Page.

[Addressing himself to Don Julio.

[He points to the Page, and makes him set the chairs by the door where Don Fernando is, and then the Page and Don Pedro's man retire. [They sit down.

[Pg 55]

[He gives Don Julio the letter, which he receives with great respect; and going a little aside, reads it.

"Don Pedro de Mendoça, my kinsman and most particular friend, goes to Valencia in pursuit of one who hath highly injured his family, whose righting I am so much concerned in, as, could it have been done without too much publication of the thing, I would have accompanied him myself, but my presence will be needless in a place where you have power: I do therefore conjure you, and expect from your regard and kindness to me, that you employ it thoroughly in his behalf, and what service you shall do him, put it upon my account, whom you shall always find

"Your most affectionate cousin to serve you,

The Duke of Medina."

[Don Pedro having read it, and restoring it.

[Don Pedro offers to rise, as going away.

[Pg 57]

[Don Julio showing some little surprise, but presently recovering.

[Exit Don Pedro, Don Julio waiting on him out.

Scene changes. Enter Don Julio and Don Fernando, as in the private apartment.

ACT IV.

Scene changes to the room at Don Zancho's. Enter Don Zancho, and Chichon at another door, halting still with a staff.

[Holding up his staff. Exeunt, Chichon halting.

Scene changes to Don Julio's private apartment. Enter Don Fernando and Julio.

Scene changes to Don Pedro's lodging. Enter Don Pedro and his servant Fulvio.

Scene changes to the garden. Enter Blanca and Francisca as in a fine garden with orange-trees and fountains.

[Pg 64]

Enter ELVIRA.

[They go and sit down under the palm-tree, and Elvira sings.

The Song.

Scene changes to the room at Don Zancho's. Enter Don Zancho and Chichon.

Scene changes to the garden again. Elvira appears in the garden, as gathering flowers from the orange-trees, and then (with her apron full) going away, says—

[Exit Elvira.

Scene changes to the prospect of Valencia. Enter Don Zancho, with his cloak over his face, and Chichon.

Enter Francisca veiled, peeping as out of the portal of Don Julio's house.

[She passes by them heedlessly.

[Pg 68]

[Chichon, going to Francisca, lays hold of her veil, and she turns about.

[She, thrusting him off, goes on. Don Zancho sets himself just in her way, and makes as if he would lie down in it.

[He offers her a letter, and she starting back:

[He stops her, and, pulling out a purse of money, puts it into her hand. Francisca offers to restore the purse, but yet holding it fast.

[She trudges away, and goes in hastily, as at Julio's house, and Don Zancho follows her in. Chichon stops at the door.

Scene changes to Donna Blanca's antechamber. Enter Blanca.

[Pg 70]

Enter FRANCISCA hastily.

Enter Don Zancho, and goes to cast himself at Donna Blanca's feet, and she starting back from him.

[She turns away as going out, he holds her by the sleeve.

[Turning to Francisca.

[Francisca takes the lights, and going before them, exeunt omnes.

Scene changes to the prospect of Valencia. Enter Don Julio, as in the portal of his own house.

[Pg 72]

[Exit Don Julio, as going into his own house.

Enter Chichon, as coming out of the porch before Don Julio's house.

[Exit Chichon, as stealing after Don Julio into his house.

Scene changes to Donna Blanca's closet. Enter Don Zancho and Donna Blanca, as in her closet.

Enter Francisca hastily.

[Pointing to Don Zancho.

[Francisca takes the candle, and exeunt she and Donna Blanca; Don Zancho, another way.

[Pg 73]

Scene changes to Donna Blanca's bed-chamber. Re-enter Donna Blanca and Francisca, as in Blanca's chamber, she newly seated at her toilet, and beginning to unpin.

Enter Don Julio.

[Ironically.

[Francisca takes one of the candles, and going before him stumbles, and falling puts out the light. Don Julio, taking it up, lights it again at the other on the table, and going with it himself towards Donna Blanca's closet.

Enter Don Zancho in disorder.

Enter Don Julio, with a candle in his hand, and passing hastily over the stage.

Enter Donna Blanca and Francisca, who pass over the stage, as if stealing after Don Julio.

[Pg 75]

Scene changes to the laboratory. Here is to open a curious scene of a laboratory in perspective, with a fountain in it, some stills, many shelves, with pots of porcelain and glasses, with pictures above them: the room paved with black and white marble, with a prospect through pillars at the end, discovering the full moon, and by its light a perspective of orange-trees, and towards that farther end Elvira appears at a table, shifting flowers, her back turned.

Enter Don Zancho hastily: Elvira turning about, they both startle, and stand awhile as it were amazed.

[Whilst they amazed step back from one another, enter Don Julio, who, seeing Don Zancho with his back towards him, drawing his sword, says—

[Throwing down the candle, he makes towards Don Zancho; but upon his turning about towards him, he makes a little stop, and says—

[Don Julio makes at Don Zancho: he draws, and they begin to fight; Elvira crying out, Help! help! runs to part them, and they stop upon her interposing.

Enter Don Fernando hastily over the stage, as coming from the private apartment.

[Exit, and re-enters at another door.

[As Fernando comes to the door of the perfuming-room, seeing them at a stand, he stops and stands close.

[Blanca and Francisca passing over the stage.

[Exeunt Blanca and Francisca, and re-enter as at another door of the perfuming-room, and make a stand, as surprised with what they see.

[Exit Chichon, and re-enters at the farther end of the laboratory, and stands close.

[Whilst this passes, Elvira holds Julio by the arm, he striving to get from her.

[To Don Zancho.

[Blanca makes earnest signs to Elvira.

[To Don Julio.

[Exeunt Blanca and Francisca. Don Fernando rushes out, drawing his sword.

[Aside. Don Fernando making at Don Zancho; Elvira steps between, and Julia also offers to stay him.

[Chichon, running out from the place where he lurked, strikes out both the lights with his hat.

[Aside to his master, and pulling him.

[Chichon pushing his master before him out of door.

[Exit Don Zancho and Chichon.

[Exit Don Julio groping, and drawing Don Fernando with him.

FOOTNOTES:

[14] [The proverb is, Everything hath an end, and a pudding hath two.]

[15] [The wife of Brutus.]

[16] [i.e., A fool. See Hazlitt's "Proverbs," 1869, p. 38.]

ACT V.

Enter Don Julio talking to himself, and at another door Fernando who, perceiving it, stands close.

[Pg 82]

[He stands pausing, and startles, seeing Don Fernando.

Enter Don Fernando.

Enter Blanca and Francisca; Blanca with a gay air, as in her antechamber.

Enter Don Julio.

[As Don Julio advances, Blanca turns from him with a furious countenance, and flies out of the room, Don Julio following her.

[She makes as if she were going, and he holds her.

[She flings from him and exit.

Enter Don Pedro and Fulvio, as in his lodging.

[To Fulvio.

Enter Blanca and Francisca, as in her antechamber.

Enter Don Zancho and Chichon, as in his own house.

[Clapping his hand on his sword.

[Pg 93]

Enter Blanca furiously, and, running to the cabinet, takes out thence a stiletto; and Francisca earnestly after her, as in Blanca's closet.

[Blanca walking upon the stage with enraged gestures pauses, at length sheathing and putting her stiletto in her sleeve with a sober, composed, tone:

[Pg 94]

Enter Don Fernando, as in Don Julio's private apartment.

[He makes as if he hearkened, and then exit, as to go where he may better hear.

Enter Elvira and Blanca as in the antechamber, and Fernando peeping as from behind a door.

[In a tone that may show what she says to be forced.

[Elvira looking round, and Fernando starting back.

[Aside.

[A noise is heard, as of people coming up stairs.

Blan. I hear some coming up stairs: should it be Don Zancho, I am not yet ready for him.—

[Pg 96]

[Aside.

[Elvira having stayed awhile behind, as she is going to follow Blanca, enter her father Don Pedro and Fulvio: she starts, and stands confounded; he, seeing her, draws out his dagger, and makes at her.

[Elvira perceiving the door a little open, where Don Fernando is, flies thither, and gets in.

[Aside, as Elvira thrusts in.

[Don Pedro seizes the door, before it be quite shut, and they struggle, he to pull it open, and Don Fernando to shut it: after some contest, Don Fernando gets it close, and bolts it within: Don Pedro, as an enraged person, pulls and bounces at the door.

[He bounces still, as to break down the door.

Enter Blanca.

Enter Don Julio.

[Turning to the Page.

[Pg 99]

Enter Don Zancho, and passes over the stage with Chichon after him: and enter Francisca, and pulling Chichon, stays him.

[She whispers with him.

Enter Don Fernando, Elvira lying upon the couch in the private apartment.

Enter Don Julio and Don Pedro, as in the garden.

[Pg 101]

Enter Don Zoncho, and Fernando appears as behind the door.

Enter Blanca.

[To him with an affected cheerfulness.

[She takes him by the hand and seats him in one chair, and she sits herself in the other close to him on his right hand, and fumbles in her sleeve.

[Don Julio beckoning Don Pedro after him, passing over one corner of the stage.

[Exeunt Don Pedro and Don Julio.

[Don Julio and Don Pedro peep out as from behind the hanging.

[Don Pedro and Don Julio rush in with their swords and daggers drawn, and Don Zancho draws too.

[From behind.

Francisca, and Chichon with a long broom, run out also from behind the hanging.

[Pg 107]

Enter Donna Blanca, Donna Elvira, and Francisa. Elvira casts herself at her father's feet.

[Pg 108]

FOOTNOTES:

[17] Without any sufficient reason, and to the evident injury of the metre, of which the author has nowhere been very careful, he here and elsewhere preferred the Spanish word capricho, to the English word caprice.—Collier.

[18] Dodsley and Reed very absurdly gave this line to Don Fernando, when it is evidently a reply by Don Julio to the request of his friend. The old copy did not mislead the former editors.—Collier.