BEAUMONT AND FLETCHER THE TRAGEDY OF VALENTINIAN MONSIEUR THOMAS THE CHANCES THE BLOODY…

THE TEXT EDITED BY A. R. WALLER, M.A.

Cambridge: at the University Press 1906

[Pg ii]

CAMBRIDGE UNIVERSITY PRESS WAREHOUSE,

C.F. CLAY, Manager.

London: FETTER LANE, E.C.

Glasgow: 50, WELLINGTON STREET.

Leipzig: F.A. BROCKHAUS.

New York: G.P. PUTNAM'S SONS.

Bombay and Calcutta: MACMILLAN AND CO., Ltd.

[All Rights reserved.]

NOTE

A few addenda to the textual notes on The Elder Brother, Wit without Money and The Faithful Shepherdess (Volume II), will be found in the Appendix, before the notes to the plays contained in the present volume. As the volume or volumes of explanatory notes on the plays, their literary and stage history and their language, will not appear until after the completion of the publication of the entire text, it seemed best to give these few additions here, rather than to wait for the appearance of those volumes.

It might be as well to mention here that differences have been found to exist in copies of the second folio all dated 1679. In order to check these as far as possible the text is set up from one copy of the folio and the proofs are read word for word with two additional copies, once by myself and once by Mrs Glover, who, since I took over the editorship, has also been so good as to continue her collations of a set of the quartos, as an additional check upon my own collations of them.

A. R. WALLER. Cambridge, 3 September, 1906.

[Pg 1]

THE TRAGEDY OF VALENTINIAN.

The Scene Rome.

The principal Actors were,

[Pg 2]

Actus Primus. Scena Prima.

Enter Balbus, Proculus, Chilax, Licinius.

SCENE II.

Enter Lucina, Ardelia and Phorba.

SCENE III.

Enter Maximus, and Æcius.

Enter the Emperour, and Chilax.

Enter Chilax.

[Exeunt.

Actus Secundus. Scena Prima.

Enter the Emperour, Maximus, Licinius, Proculus, Chilax, as at Dice.

Enter Chilax, and Lycias the Eunuch.

SCENE II.

Enter Claudia, and Marcellina.

Enter Lucina, and Lycias, the Eunuch.

SCENE [III]. [Tumult & noise within.

Enter Æcius, pursuing Pontius, the Captain, and Maximus, following.

SCENE IV.

Enter Chilax, at one door, Licinius, and Balbus, at another.

Enter Emperour, Balbus, and Proc[u]lus.

Enter Lucina, Claudia, and Marcellina.

Enter Licinius, and Proculus, Balbus.

Enter Chilax, Lucina, Claudia, and Marcellina.

[Pg 32]

Enter Phorba, and Ardelia.

Enter Chilax, and Balbus.

Enter Emperour, and Lucina.

Actus Tertius. Scena Prima.

Enter Chilax, Licinius, Proculus, and Balbus.

Enter Emperour, and Lucina.

Enter Maximus, and Æcius.

Enter Claudia.

[SCENE II.]

Enter Pontius, Phidias, and Aretus.

SCENE III.

Enter Maximus.

Enter a Servant.

Enter Æcius.

Actus Quartus. Scena Prima.

Enter Emperour, Licinius, Chilax, and Balbus.

Enter Proculus.

Enter a Servant.

Enter Phidias, and Aretus.

SCENE II.

Enter Maximus alone.

Enter Æcius and Phidias.

SCENE III.

Enter Proculus, and Pontius.

SCENE [IV].

Enter Phidias, Aretus, and Æcius.

[Exeunt Phi. and Aretus.

Enter Balbus, Chilax, Licinius.

Enter Pontius.

Enter Proculus, and 3 others running over the Stage.

Enter Æcius.

Enter Proculus, and two others.

Enter Phidias, and Aretus.

Enter Maximus.

Actus Quintus. Scena Prima.

Enter Phidias, with his dagger in him, and Aretus, poyson'd.

[Exeunt severally.

SCENE II.

Enter Lycias, and Proculus.

Enter Licinius.

Enter Emperour, sick in a Chair, with Eudoxia the Empress, and Physicians, and Attendants.

[Pg 77]

Enter Proculus, Licinius, with Aretus.

Enter a Messenger.

SCENE III.

Enter Maximus.

SCENE IV.

Enter 3 Senators, and Affranius.

Enter Affranius.

[Exeunt Senators, Flourish.

Enter Maximus, Eudox[i]a, Senat. and Souldiers.

SCENE V.

Enter Paulus (a Poet,) and Licippus (a Gent.)

SCENE VI.

Enter Maximus and Eudox[i]a.

Enter a Messenger.

SCENE VII.

Enter Paulus and Licippus.

SCENE VIII.

Enter in state Maximus, Eudox[i]a, with Souldiers and Gentlemen of Rome, the Senators, and Rods and Axes born before them.

Monsieur Thomas. A COMEDY.

Actus Primus. Scena Prima.

Enter Alice, and Valentine.

Enter Hylas.

Enter Mary.

Enter Francis at one door, and Cellide at another.

SCENE II.

Enter old Sebastian, and Launcelot.

Enter Thomas.

Enter Dorothea.

SCENE III.

Enter Alice, and Mary.

Enter Dorothea.

Actus Secundus. Scena Prima.

Enter Valentine, Alice, and Cellide.

Enter Frank.

[Exeunt.

SCENE II.

Enter Dorothea, and Thomas.

Enter Sebastian, and Launcelot.

Enter Thomas, with a Book.

Enter Hylas and Sam.

[Enter over the Stage, Physicians and others.

Enter Alice.

SCENE III.

Enter three Physicians with an Urinal.

[Pg 117]

Enter a Servant.

[Exeunt.

SCENE IV.

Enter Valentine, and Michael.

[Pg 118]

Enter Alice.

Enter Cellide.

Actus Tertius. Scena Prima.

Enter Frank sick, Physicians, and an Apothecary.

Enter Cellide.

Enter Valentine.

Enter Valentine, Thomas, Hylas, and Sam.

[Exit Val.

[Pg 129]

Enter three Phys. Apoth. and Barber.

Enter Servant.

Enter Alice and Mary.

SCENE II.

Enter Sebastian, and Dorothy.

Enter Servant.

SCENE III.

Enter Thomas, Hylas, and Sam.

Enter Launcelot, and Fidler.

Enter Servant, above.

Enter Mary above.

[Madge with a Devils vizard roaring, offers to kiss him, and he falls down.

Enter Samuel, and Hylas, with his head broken.

Enter Mary, and Servant below.

[Exeunt.

Actus Quartus. Scena Prima.

Enter Valentine, Alice, and Servant.

Enter Michael.

Enter Alice.

[Pg 143]

SCENE II.

Enter Sebastian, and a Servant.

Enter Launcelot.

Enter Servant.

Enter Thomas.

Enter two Servants with two bags.

Enter Dorothy, and four Maids.

[Exeunt.

SCENE III.

Enter Michael, and Valentine.

SCENE IV.

Enter Hylas, and Samuel.

SCENE V.

Enter Saylers singing, to them Michael, and Francis.

SCENE VI.

Enter Thomas, Dorothy, and Maid.

Enter Sebastian, and Thomas.

Enter Launcelot.

SCENE VII.

Enter Mary, Dorothy, and Maid.

SCENE VIII.

Enter Valentine, and Thomas.

Enter Maid.

SCENE IX.

Enter Michael, Francis, and Officers.

Actus Quintus. Scena Prima.

Enter Hylas.

Enter Mary and Dorothy, and then Thomas and Maid.

[A Bed discovered with a Black-moore in it.

[Pg 161]

SCENE II.

Enter Hylas, and Thomas.

Enter Sebastian, and Launcelot.

SCENE III.

Enter Abbess, Cellide, and Nuns.

[Pg 164]

[Musick singing.

SCENE IV.

Enter Michael and Servant, and Francis.

SCENE V.

Enter Hylas, and Sam.

[Exeunt.

SCENE VI.

Enter Dorothy, Mary, Valentine.

Enter Abbess.

[Pg 166]

Enter 2 Nuns.

Enter Thomas and Cellide.

SCENE VII.

Enter Dorothy, and Mary.

Enter Hylas, and Sam.

[Pg 169]

SCENE VIII.

Enter Michael, Valentine, and Alice.

Enter Francis, Servant, Abbess, and Cellide, severally.

Enter Thomas, Dorothy, and Mary: then Sebastian, and Launcelot.

Enter Hylas and Sam.

[Pg 174]

TO THE NOBLE HONOURER OF THE Dead Author's Works and Memory, Master CHARLES COTTON.

SIR,

My directing of this piece unto you, renders me obvious to many censures, which I would willingly prevent by declaring mine own and your right thereto. Mine was the fortune to be made the unworthy preserver of it; yours is the worthy opinion you have of the Author and his Poems; neither can it easily be determined, whether your affection to them hath made you (by observing) more able to judge of them, than your ability to judge of them hath made you to affect them, deservedly, not partially. In this presumptuous act of mine, I express my twofold zeal; to him and your noble self, who have built him a more honourable monument in that fair opinion you have of him, than any inscription subject to the wearing of time can be. You will find him in this Poem as active as in others, to many of which, the dull apprehensions of former times gave but slender allowance, from malitious custom more than reason: yet they have since by your candid self and others, been clearly vindicated. You shall oblige by your acceptance of this acknowledgment (which is the best I can render you,

mine own weak la[b]ours being too unworthy your judicious perusal) him that is ambitious to be known.

Your most humble Servant, Richard Brome.

[Pg 175]

THE CHANCES. A COMEDY.

The Scene Bolognia.

Actus Primus. Scena Prima.

Enter 2. Serving-men, Peter and Anthony.

Enter Don John, and Frederick.

SCENE II.

Enter Petruchio, Antonio, and two Gentlemen.

SCENE III.

Enter Don John.

[Pg 181]

Enter Woman with a Child.

SCENE IV.

Enter Frederick.

SCENE V.

Enter Duke, and 3 Gentlemen.

SCENE VI.

Enter Don John.

SCENE VII.

Enter Frederick.

Enter Constantia.

SCENE VIII.

Enter Petruchio, Antonio, and 2 Gent.

SCENE IX.

Enter Don John, and his Land-lady.

Enter Anthony, with a bottle of wine.

SCENE X.

Enter Duke, and Gentlemen.

SCENE XI.

Enter Frederick, and Peter, (with a candle.)

Enter Constantia.

Actus Secundus. Scena Prima.

Enter Duke, pursued by Petruccio, Antonio, and that Faction.

Enter Don John.

[Du. fals down, Don John bestrides him.

Enter the Dukes Faction.

Enter Frederick.

SCENE II.

Enter Peter, and Anthony.

Enter Frederick, and Don John.

Enter Constantia.

Enter Frederick, and Don John, peeping.

Enter Don John.

Enter Anthony.

Enter Anthony.

Enter Constantia.

SCENE III.

Enter Petrucchio, with a Letter.

Enter Don John.

Enter Frederick.

Actus Tertius. Scena Prima.

Enter Land-lady, and Peter.

Enter Frederick.

Enter Don John.

Enter A[n]thony.

Enter Constantia.

SCENE II.

Enter Antonio, a Surgeon, and 2 Gentlemen.

Enter Rowl. with Wine.

SCENE III.

Enter Constantia, and Land-lady.

SCENE IV.

Enter Petrucchio, Don John, and Frederick.

[Pg 218]

Enter Duke and his faction.

Enter Petrucchio.

Enter Frederick.

Enter Francisco.

Enter Don John, and Frederick.

Enter Duke, Petrucchio.

Actus Quartus. Scena Prima.

Enter Duke, Petrucchio, Frederick, and John.

Enter Frederick, and Peter.

SCENE II.

Enter Antonio and his Servant.

SCENE III.

Enter Duke, Petrucchio, Frederick, John, Peter, and Servant with Bottle.

Enter Bawd (above.)

Enter Francisco.

Enter Petrucchio, John, Whore, and Bawd, with Francisco.

Enter Officer.

[Pg 233]

Actus Quintus. Scena Prima.

Enter Duke, Petrucchio, below, and Vecchio, above.

Enter Vecchio.

SCENE II.

Enter Don John, and Frederick.

[Pg 235]

SCENE III.

Enter Duke, Petrucchio, and Vecchio.

Enter Vecchio, in his habiliments.

Enter Frederick, John, and Servant.

[Pg 238]

[Exit Vecchio.

Enter Vecchio.

Enter Land-lady and the Child.

Enter Vecchio, and Constantia.

Enter Antonio.

Enter Don John like a Spirit.

Enter all.

Prologue.

[Pg 245]

Epilogue.

[Pg 246]

THE Bloody Brother; OR, ROLLO. A TRAGEDY.

Actus Primus. Scena Prima.

Enter Gisbert and Baldwin.

Enter Grandpree, a[n]d Verdon.

Enter to them Trevile and Duprete.

[Pg 250]

Enter to them Aubrey.

Enter Rollo, Latorch, Trevile, Grandpree, Otto, Verdon, and Duprete.

[He offers his sword at Otto, the faction joyning, [Aubrey between severs the Brothers.

Enter Sophia.

[The Brothers cast away their Swords and embrace.

[Manent Grandpree, Verdon, Trevile and Duprete.

Actus Secundus. Scena Prima.

Enter Latorch, and Rollo.

[Pg 262]

SCENE II.

Enter the Master Cook, Butler, Pantler, Yeoman of the Cellar, with a Jack of Beer and a Dish.

Enter Latorch.

SCENE III.

Enter Servant, and Sewer.

Hoboys, a banquet.

Enter Sophia, between Rollo, and Otto, Aubry, Latorch, Gis[b]ert, Baldwin, Attendants, Hamond, Matilda, Edith.

[Ex. Sop. and Otto.

Actus Tertius. Scena Prima.

Enter Sophia, Otto, Matillda, Edith.

Enter Rollo, armed, and Latorch.

Enter Aubrey.

Enter Gisbert, Baldwin.

[Pg 276]

Enter Rollo, Lat. Ham. and Guard.

Enter Latorch.

Enter Hamond.

[Exeunt Guard, Count Baldwin.

Enter Latorch and Hamond with a Head.

Enter Citizens.

[Exeunt Citizens.

[Exeunt omnes præter Latorch, and Edith.

[Exeunt.

SCENE II.

Enter the Guard, 3 or 4 Boys, then the Sheriff, Cook, Yeoman of the Cellar, Butler, Pantler to execution.

Actus Quartus. Scena Prima.

Enter Aubrey, and Latorch.

Enter Rollo, Hamond, Allan, Guard.

[Pg 293]

[Exeunt.

SCENE II.

Enter Rusee, de Bube, la Fiske, Norbret, Pippeau.

[Exit and enter again.

Enter Latorch, Hamond.

[Pg 296]

Enter la Fisk, de Bube, and Pippeau.

Enter Norb[re]t, Russ, Pippeau.

SCENE III.

Enter Sophia, Matilda, and Edith.

Actus Quintus. Scena Prima.

Enter Rollo with a glass, Aubrey, and Servants.

Enter Hamond with Letters.

Enter Messenger.

SCENE II.

Enter Edith, a Boy, and a Banquet set out.

Enter Rollo.

Enter Hamond, and Guard.

Enter Sophia, Matilda, Aubrey, Lords and attendants.

Enter Latorch, and Juglers.

[Pg 314]

THE Wild-Goose Chase; A COMEDY.

The Scene Paris.

The Actors were,

Actus Primus. Scena Prima.

Enter Monsieur De Gard, and a Foot-Boy.

[Pg 316]

Enter La-Castre and Oriana.

[Exeunt.

SCENE II.

Enter Mirabel, Pinac, Bellure, and Servants.

SCENE III.

Enter La-Castre, Natolet, Lugie[r], Rosa Lieura, Lylia-Biancha.

Enter Mirabel, Pinac, De-Gard, [Belleur,] and Oriana.

Actus Secundus. Scena Prima.

Enter Mirabel, Pinac, Belleur.

Enter Oriana.

Enter de Gard.

[Pg 336]

[Exit.

SCENE II.

Enter Pinac, and a Servant.

Enter Lilia, Petella.

Enter Mirabel.

Enter a Man.

SCENE III.

Enter Rosalura, and Oriana.

[Pg 342]

Enter Mirabel and Belleur.

Actus Tertius. Scena Prima.

Enter De Gard, and Leverdure, alias Lugier.

Enter Lillia, Rosalure, and Oriana.

Enter Mirabel.

Enter a Boy.

Enter Pinac, Mariana, and Attendants.

Enter Belleur, and two Gentlemen.

Enter Leverduce, alias Lugier, Mr. Illiard.

[Pg 358]

Enter De-Gard, Oriana, and Attendants.

Enter a Servant.

Enter de-Gard, Oriana, &c.

Actus Quartus. Scena Prima.

Enter Lugier, Lilia, Servants.

Enter Mirabel, Pinac, Mariana, Priest, Attendants.

SCENE II.

Enter Rosalure, and Lugier.

Enter Lilia Biancha.

Enter Belleur.

Enter Lilia, and four Women laughing.

[Pg 370]

[Exeunt.

Enter two Gentlemen.

SCENE III.

Enter Nantolet, La-Castre, De-Gard, Lugier, Mirabel.

Enter Rosalure, and Lilia.

Enter Oriana on a Bed.

[Enter Belleur.]

Enter Belleur, La-Castre, Lugier, Nantolet, De Gard, Rosalure, and Bianca.

Actus Quintus. Scena Prima.

Enter De Gard, and Lugier.

[Pg 377]

SCENE II.

Enter Mirabel, Nantolet, and La-Castre.

Enter Pinac, and Belleur.

Enter a young Factor.

[Exeunt.

SCENE III.

Enter Lugier, de-Gard, Rosalu, and Lilia.

SCENE IV.

Enter Factor, and Mirabel, Oriana, and two Merchants.

Enter Rosalure, Lilia, Servant.

SCENE V.

Enter Mirabel, Pinac, Belleur.

SCENE VI.

Enter Factor, Rosalure, Lelia, Oriana.

Enter Mirabel, Pinac, and Belleur.

Enter La-Castre, Nantolet, Lugier, & de-Gard.

[Pg 391]

APPENDIX

In the following references to the text the lines are numbered from the top of the page, including titles, acts, stage directions, &c., but not, of course, the headline or mere 'rules.' Where, as in the lists of Persons Represented, there are double columns, the right-hand column is numbered after the left.

It has not been thought necessary to record the correction of every turned letter nor the substitution of marks of interrogation for marks of exclamation and vice-versâ. Full-stops have been silently inserted at the ends of speeches and each fresh speaker has been given the dignity of a fresh line: in the double-columned folio the speeches are frequently run on. Only misprints of interest in the Quartos and the First Folio are recorded.

ADDENDA TO RECORD OF VARIANTS IN VOL. II.

THE ELDER BROTHER.

None of the above add anything to the sum of variants, being merely the occurrence of trivial differences (some, undoubted misprints) already recorded in certain Quartos and found to occur in others upon making a collation of a fresh series of Quartos for the purpose of the volumes of notes. They are given here solely to make the record as complete as may be, but it should be stated that some of them are accounted for by the existence of Quartos made up of corrected and uncorrected sheets, i.e. it often happens that not all the copies of a Quarto bearing the same date possess an identical series of sheets.

The following are additions to the sum of the variants already recorded, noted in the collation above referred to.

In the Preface to the second volume of the present edition, I used the words 'First Quarto' somewhat loosely to represent indifferently two versions of The Elder Brother both dated 1637, differing very slightly from each other. The phrase has been misunderstood as implying that the editors of this edition were not aware that one of these two Quartos may possibly have been printed a few years later than the other. This is not the case: the opinion, and the evidence adduced in support of it, were known to the editors, but all questions[Pg 392] of date, together with all other discussions of like nature, were left to be dealt with in their proper place in the volume or volumes of notes that are to follow the publication of the text. It is a matter of very slight importance, and it is sufficient to state here that one of these two identically dated editions was called A and the other B in the Appendix to volume II for purposes of reference only, just as, in volume I, the two identically dated Quartos of Philaster,

1652, were called F and G, respectively, without there being any intention on the part of the editors to express, in either case, any opinion, for the moment, as to which is the earlier or the better of the two. Furthermore, since the text of one of these 1637 Quartos was printed in the Appendix merely in order to show the verse arrangement that prevailed in the early Quartos and not for any other textual purpose, it was a matter of indifference which of the two 1637 Quartos was used.

WIT WITHOUT MONEY.

THE FAITHFUL SHEPHERDESS.

As in the case of The Elder Brother, copies of Quartos dated the same year differ by reason of the inclusion of corrected and uncorrected sheets. This remark applies to the undated 1609/10 Quartos called here A and B and also to C and the later Quartos, e.g. some copies of C have been seen which read (p. 372, l. 13): and games, and some: and merry games.

None of the above, noticed during a collation of a fresh set of Quartos for the purpose of the notes, add anything to the sum of variants. The following are additions: p. 373, l. 19 of text for staight read [straight]. p. 390, l. 27. A] dapple. l. 36. A] Beates against. p. 401, l. 21. The Quartos print, with variations of roman and italic type, 'Exit. Amaril. Perigot!' The right reading is probably to regard the last word as Amaryllis's cry for Perigot. By being printed on the same line as the conclusion of Perigot's speech, the two names were printed in the Second Folio as though part of the stage direction. p. 421, l. 36. A and B] so strange. p. 423, l. 8. F] the Cradle. p. 427, l. 7. A-D] women. p. 430, l. 22. A-C] thee, there will bide. p. 442, l. 26. F] labouring spring. p. 519, l. 18. D and F] morality. Since the textual notes in Vol. II were written, the present Editor has seen copies of the undated First Quarto A which do not contain the preliminary verses and address on pp. 521 (2 items) and 522 (2 items).

RULE A WIFE, AND HAVE A WIFE.

Vol. III. pp. 460 and 461.

The following addenda were printed on a slip and affixed as indicated above. They are repeated here in case the slip should become detached.

NOTES TO VOL. IV.

THE TRAGEDY OF VALENTINIAN.

A = First Folio. B = Second Folio.

The following variants are in A unless where otherwise stated.

MONSIEUR THOMAS.

B = Second Folio.

The title-page of the Quarto of 1639 (= A) runs as follows:

Monsieur | Thomas. A Comedy. | Acted at the Private House in | Blacke Fryers. | The Author, | John Fletcher, | Gent. | London, | Printed by Thomas Harper, for John Waterson, and are | to be sold at his shop in Pauls Church-yard,| at the signe of the Crowne: | 1639.

This Quarto is sometimes met with under the title of Fathers own Son.

The title-page is followed in the Quarto by these verses and Richard Brome's letter (see ante, p. 174).

In prayse of the Authour, and his following Poeme.

As neither the Folio nor the Quarto give the dramatis personæ, I print a list of the characters here.

DRAMATIS PERSONÆ. MONSIEUR THOMAS.

The variants below are those of A unless otherwise noted.

THE CHANCES.

A = First Folio. B = Second Folio.

The variants below are those of A unless where otherwise stated.

THE BLOODY BROTHER.

A = The | Bloody | Brother. | A Tragedy. | By B. J. F. | London, | Printed by R. Bishop, for Thomas Allott, and John Crook, | and are to be sold in Pauls Churchyard, at the signe | of the Greyhound 1639. |

B = The Tragedy of | Rollo | Duke of Normandy. | Acted by his | Majesties Servants. | Written by | John Fletcher | Gent. | Oxford, | Printed by Leonard Lichfield | Printer to the University. | Anno 1640. |

C = The Second Folio.

Here again copies dated the same year differ in their readings. Three copies of the 1639 Quarto have been collated to supply the readings given below, and three copies also of the 1640 Quarto.