ABDELAZER; OR, THE MOOR’S REVENGE.

ARGUMENT.

The old King of Spain, having conquered Fez and killed the Moorish monarch, has taken the orphaned prince Abdelazer under his protection and in time made him General. Abdelazer, though always courageous, has the desire of revenge ever uppermost, and to gain influence, rather than from any love, he becomes the Queen’s paramour. She, being a lustful and wicked woman, joins with the Moor in poisoning her husband, at whose death Philip, her second son, newly returned victor from a martial expedition, leaving his army at some distance, rushes in mad with rage and publicly accuses his mother of adultery with Abdelazer. She is greatly incensed, but Cardinal Mendozo, as Protector of the King, promptly banishes her gallant. The young King Ferdinand, however, to please Florella, the Moor’s wife, whom he loves, revokes this decree. Abdelazer, in revenge, next orders his native officer Osmin to kill Philip and the Cardinal. They escape by night disguised as monks, whilst Abdelazer alarms the castle with cries of treason and tells the King that

Philip and the Cardinal are plotting to murder him. Ferdinand orders Abdelazer to follow them, intending to visit Florella during her husband’s absence. Abdelazer, fully aware of his plan, out of pride and mischief furnishes Florella with a dagger, bidding her stab the King if he persists in his suit. Elvira, the Queen Mother’s confidante, Watches the King enter Florella’s apartment and conveys the news to her Mistress who, with dissembled reluctance, informs Alonzo, the Moor’s brother-in-law. Florella resists the King’s solicitations and produces the dagger threatening to stab herself. At this juncture the Queen rushes in and, feigning to think that Florella was about to attempt the King’s life, kills her. Her motive for this deed is, in reality, jealousy. Whilst the King falls weeping at his dead mistress’ feet Abdelazer enters, and in the ensuing fight Ferdinand is slain. Philip is then proclaimed King, but Abdelazer announcing he is a bastard, an avowal backed by the Queen, declares himself Protector of Spain, Overpowered by his following,

The lords accept him. Alonzo, however, flies to Philip’s camp with the tidings. A battle between the two parties follows, but the Queen treacherously detaches Mendozo, who loves her, from Philip, and although the Moors are at first beaten back they now gain the advantage and Philip is captured. At a general assembly of the nobles the Queen relates the false tale of Philip’s illegitimacy and asserts that the Cardinal is his father. She privately bids Mendozo acknowledge this and so gain the crown, but he refuses to support the lie and is promptly arrested as a traitor. Abdelazer now brings forward the Infanta Leonora and proclaims her Queen of Spain, He next disposes of the Queen Mother by bidding Roderigo, a creature of his own, assassinate her forthwith. Roderigo gains admittance disguised as a friar and stabs her, upon which Abdelazer, to screen himself, rushes in and cuts him down. He next openly declares his love for Leonora and is about to force her when Osmin, his officer, enters to inform him that Alonzo, to whom Leonora is affianced,

has resisted arrest but is at last secured. Abdelazer, enraged at the interruption, wounds Osmin in the arm. Leonora pities the blow; and the Moorish soldier, deeply hurt at the insult, resolves to betray his master. He accordingly goes to the prison where Philip, the Cardinal, and Alonzo are confined, and killing his fellow Zarrack who was to have been their executioner, sets them free. When Abdelazer enters he finds himself entrapped. He glories, however, in his crimes, and as they set on him kills Osmin, himself falling dead in the mêleé. The Cardinal is forgiven, Leonora and Alonzo are united, whilst Philip ascends the throne.

SOURCE.

Abdelazer; or, the Moor’s Revenge is an alteration of the robustious _Lust’s Dominion; or, the Lascivious Queen, printed 12mo, 1657, and then attributed to Marlowe, who was certainly not the author. It is now generally identified with The Spanish Moor’s Tragedy by Dekker (Haughton and Day, 1600), although, as Fleay justly says, there is ‘an under-current of pre-Shakespearean work’ unlike either Dekker or Day. There are marked crudities of form and a rough conduct of plot which stamp it as of very early origin. Probably it was emended and pruned by the three collaborators.

Although often keeping close to her original, Mrs. Behn has dealt with the somewhat rude material in a very apt and masterly way: she has, to advantage, omitted the old King, Emanuel, King of Portugal, Alvero, father to Maria (Florella), and the two farcical friars, Crab and Cole; she adds Elvira, and whereas in Lust’s Dominion the Queen at the conclusion is left alive, declaiming:—

‘I’ll fly unto some solitary residence When I’ll spin out the remnant of my life In true contrition for my past offences.’—

Mrs. Behn far more dramatically kills her Isabella. Perhaps the famous assassination of Henri III of France by the Dominican, Jacques Clement, gave a hint for Roderigo masqued as a monk.

The sexual passion, the predominance of which in this tragedy a recent critic has not a little carpingly condemned, is entirely natural in such an untamed savage as Abdelazer, whilst history affords many a parallel to the lascivious Queen.

THEATRICAL HISTORY.

Abdelazer; or, The Moor’s Revenge was first produced at the Duke’s Theatre in Dorset Garden during the late autumn of 1677. It was supported by a strong cast, and Betterton, whose Othello, Steele—writing exquisitely in the Tatler—seems to have considered artistically quite perfect, was no doubt n wonderful representative of the ferocious Afric. The effective rôle of Queen Isabella fell to Mrs. Mary Lee, the first tragedienne of the day, Mrs. Marshall, the leading lady of the King’s Company, having at this time just retired from the stage. [Footnote: Her last rôle was Berenice in Crowne’s heroic tragedy, The Destruction of Jerusalem (1677).] It is interesting to notice that Mrs. Barry on her way to fame played the secondary part of Leonora.

Abdelazer seems to have met with good success, and on Easter Monday, April, 1695, the patentees, after the secession of Betterton, Mrs. Barry, Mrs. Bracegirdle and their following to Lincoln’s Inn Fields, chose the tragedy to reopen Drury Lane. The Moor was played by George Powell, a vigorous and passionate actor, who also spoke a new prologue written for the nonce by Cibber, then a mere struggler in the ranks. Colley’s verses were accepted at the eleventh hour in default of better, and he tells us how chagrined he was not to be allowed to deliver them in person. The house was very full the first day, but on the morrow it was empty, probably owing to the inexperience of many of the actors and a too hasty rehearsing of the play.

On the stage Abdelazer was superseded by Edward Young’s The Revenge, a tragedy largely borrowed in theme and design from Mrs. Behn, with reminiscences of Othello. Produced at Drury Lane, 18 April, 1721, with Mills, Booth, Wilks, Mrs. Porter and Mrs. Horton in the cast, it attained considerable success, and Zanga, the Moor, was long a favourite part with our greatest actors even down to the days of Kean, who excelled in it, and Macready. The Revenge is not without merit, and it stands out well before the lean and arid tragedies of its time, but this, unfortunately, is not much to say. It is not for a moment to be compared with the magnificent tapestry of Abdelazer, woven though the latter may be in colours strong and daring.

ABDELAZER; or, The Moor’s Revenge.

PROLOGUE.

_Gallants, you have so long been absent hence, That you have almost cool’d your Diligence; For while we study or revive a Play, You, like good Husbands, in the Country stay, There frugally wear out your Summer Suit, And in Prize Jerkin after Beagles toot; Or, in Montero-Caps, at Feldfares shoot. Nay, some are so obdurate in their Sin, That they swear never to come up again, But all their Charge of Clothes and Treat retrench, To Gloves and Stockings for some Country Wench: Even they, who in the Summer had Mishaps, Send up to Town for Physick for their Claps. The Ladies too are as resolved as they, And having Debts unknown to them, they stay, And with the Gain of Cheese and Poultry pay. Even in their Visits, they from Banquets fall, To entertain with Nuts and Bottle-Ale; And in Discourse with Secresy report State-News, that past a Twelve-month since at Court. Those of them who are most refind, and gay, Now learn the Songs of the last Summer’s Play: While the young Daughter does in private mourn, Her Lovers in Town, and hopes not to return. These Country Grievances too great appear:

But cruel Ladies, we have greater here; You come not sharp, as you are wont, to Plays; But only on the first and second Days: This made our Poet, in her Visits, look What new strange Courses, for your time you took, And to her great Regret she found too soon, Damn’d Beasts and Ombre spent the Afternoon; So that we cannot hope to see you here Before the little Net-work Purse be clear. Suppose you should have Luck— Yet sitting up so late, as I am told, You’ll lose in Beauty what you win in Gold: And what each Lady of another says, Will make you new Lampoons, and us new Plays.

DRAMATIS PERSONAE.

MEN.

Ferdinand, a young King of Spain, in love with Florella. Mr. Harris. Philip, his Brother. Mr. Smith. Akdelazer, the Moor. Mr. Betterton. Mendozo, Prince Cardinal, in love with the Queen. Mr. Medburn. Alonzo, a young Nobleman of Spain, contracted to Leonora. Mr. Crasbie. Roderigo, a Creature to the Moor, Mr. Norris. Antonio, | Sebastian, Two Officers of Phillip’s. | Mr. John Lee. Osmin, | Mr. Percivall. Zarrack, Moors and Officers to Abdelazer. | Mr. Richards. Ordonio, a Courtier. A Swain, and Shepherds. Courtiers, Officers, Guards, Soldiers, Moors, Pages, and Attendants.

WOMEN.

Isabella, Queen of Spain, Mother to Ferdinand and Philip, in love with Abdelazer. Mrs. Lee. Leonora, her Daughter, Sister to Ferdinand and Philip. Mrs. Barrey. Florella, Wife to Abdelazer, and Sister to Mrs. Betterton. Alonzo. Elvira, Woman to the Queen. Mrs. Osborne. A Nymph, and Shepherdesses. Other Women Attendants.

SCENE Spain, and in the Camp.

ACT I.

SCENE I. A rich Chamber.

A Table with Lights, Abdelazer sullenly leaning his Head on his Hands: after a little while, still Musick plays.

SONG.

_Love _in fantastick Triumph sat, Whilst bleeding Hearts around him flow’d, For whom fresh Pains he did create, And strange Tyrannick Pow’r he shewed; From thy bright Eyes he took his Fires, Which round about in sport he hurl’d; But ‘twas from mine he took Desires, Enough t’undo the amorous World.

From me he took his Sighs and Tears, From thee his Pride and Cruelty; From me his Languishments and Fears, And ev’ry killing Dart from thee: Thus thou, and I, the God have arrri’d, And set him up a Deity; But my poor Heart alone is harm’d, Whilst thine the Victor is, and free_.

[After which he rouzes, and gazes.

Abd. On me this Musick lost?—this Sound on me That hates all Softness?—What, ho, my Slaves!

Enter Osmin, Zarrack.

Osm. My gracious Lord—

[Enter Queen, Elvira.

Qu. My dearest Abdelazer—

Abd. Oh, are you there?—Ye Dogs, how came she in? Did I not charge you on your Lives to watch, That none disturb my Privacy?

Qu. My gentle Abdelazer, ‘tis thy Queen, Who ‘as laid aside the Business of her State, To wanton in the kinder Joys of Love— Play all your sweetest Notes, such as inspire The active Soul with new and soft Desire, [To the Musick, they play softly. Whilst we from Eyes—thus dying, fan the Fire. [She sits down by him.

Abd. Cease that ungrateful Noise. [Musick ceases.

Qu. Can ought that I command displease my Moor?

Abd. Away, fond Woman.

Qu. Nay, prithee be more kind.

Abd. Nay, prithee, good Queen, leave me—I am dull, Unfit for Dalliance now.

Qu. Why dost thou frown?—to whom was that Curse sent?

Abd. To thee—

Qu. To me?—it cannot be—to me, sweet Moor?— No, no, it cannot—prithee smile upon me— Smile, whilst a thousand Cupids shall descend And call thee Jove, and wait upon thy Smiles, Deck thy smooth Brow with Flowers; Whilst in my Eyes, needing no other Glass, Thou shalt behold and wonder at thy Beauty.

Abd. Away, away, be gone—

Qu. Where hast thou learnt this Language, that can say But those rude Words—Away, away, be gone? Am I grown ugly now?

Abd. Ugly as Hell—

Qu. Didst thou not love me once, and swore that Heav’n Dwelt in my Face and Eyes?

Abd. Thy Face and Eyes!—Baud, fetch me here a Glass, [To Elvira. And thou shalt see the Balls of both those Eyes Burning with Fire of Lust: That Blood that dances in thy Cheeks so hot, That have not I to cool it Made an Extraction even of my Soul, Decay’d my Youth, only to feed thy Lust? And wou’dst thou still pursue me to my Grave?

Qu. All this to me, my Abdelazer?

Abd. I cannot ride through the Castilian Streets, But thousand Eyes throw killing Looks at me, And cry—That’s he that does abuse our King— There goes the Minion of the Spanish Queen, Who, on the lazy Pleasures of his Love, Spends the Revenues of the King of Spain— This many-headed Beast your Lust has arm’d.

Qu. How dare you, Sir, upbraid me with my Love?

Abd. I will not answer thee, nor hear thee speak.

Qu. Not hear me speak!—Yes, and in Thunder too; Since all my Passion, all my soft Intreaties Can do no good upon thee, I’ll see (since thou hast banish’d all thy Love, That Love, to which I’ve sacrific’d my Honour) If thou hast any Sense of Gratitude, For all the mighty Graces I have done thee.

Abd. Do;—and in thy Story too, do not leave out How dear those mighty Graces I have purchas’d; My blooming Youth, my healthful vigorous Youth, Which Nature gave me for more noble Actions Than to lie fawning at a Woman’s Feet, And pass my Hours in Idleness and Love— If I cou’d blush, I shou’d thro all this Cloud Send forth my Sense of Shame into my Cheeks.

Qu. Ingrate! Have I for this abus’d the best of Men, My noble Husband? Depriving him of all the Joys of Love, To bring them all intirely to thy Bed; Neglected all my Vows, and sworn ‘em here a-new, Here, on thy Lips— Exhausted Treasures that wou’d purchase Crowns, To buy thy Smiles—to buy a gentle Look; And when thou didst repay me—blest the Giver? Oh, Abdelazer, more than this I’ve done— This very Hour, the last the King can live, Urg’d by thy Witch-craft, I his Life betray’d; And is it thus my Bounties are repaid? Whate’er a Crime so great deserves from Heav’n, By Abdelazer might have been forgiven: [Weeps. But I will be reveng’d by penitence, And e’er the King dies, own my black Offence— And yet that’s not enough—Elvira— [Pauses. Cry murder, murder, help, help.

[She and her Women cry aloud, he is surpriz’d, the Queen falls, he draws a Dagger at Elvira.

Elv. Help, murder, murder!—

Abd. Hell, what’s this?—peace, Baud—’sdeath, They’ll raise the Court upon me, and then I’m lost— My Queen—my Goddess—Oh raise your lovely Eyes, I have dissembled Coldness all this while; And that Deceit was but to try thy Faith. [Takes her up, sets her in a Chair, then kneels. Look up—by Heav’n,’.was Jealousy— Pardon your Slave—pardon your poor Adorer.

Qu. Thou didst upbraid me with my shameful Passion.

Abd. I’ll tear my Tongue out for its Profanation.

Qu. And when I woo’d thee but to smile upon me, Thou cry’st—Away, I’m dull, unfit for Dalliance.

Abd. Call back the frighted Blood into thy Cheeks, And I’ll obey the Dictates of my Love, And smile, and kiss, and dwell for ever here— Enter Osmin hastily. How now—why star’st thou so?

Osm. My Lord—the King is dead.

Abd. The King dead!—’Twas time then to dissemble. [Aside. What means this Rudeness?— [One knocks.

Enter Zarrack.

Zar. My Lord—the Cardinal inquiring for the Queen, The Court is in an uproar, none can find her.

Abd. Not find the Queen! and wou’d they search her here?

Qu. What shall I do? I must not here be found.

Abd. Oh, do not fear—no Cardinal enters here; No King—no God, that means to be secure— Slaves guard the Doors, and suffer none to enter, Whilst I, my charming Queen, provide for your Security— You know there is a Vault deep under Ground, Into the which the busy Sun ne’er enter’d, But all is dark, as are the Shades of Hell, Thro which in dead of Night I oft have pass’d, Guided by Love, to your Apartment, Madam— They knock agen—thither, my lovely Mistress, [Knock. Suffer your self to be conducted—

Osmin, attend the Queen—descend in haste, [Queen, Osm. and Elv. descend the Vault. My Lodgings are beset.

Zar. I cannot guard the Lodgings longer— Don Ordonio, Sir, to seek the Queen—

Abd. How dare they seek her here?

Zar. My Lord, the King has swounded twice, And being recover’d, calls for her Majesty.

Abd. The King not dead!—go, Zafrack, and aloud Tell Don Ordonio and the Cardinal, He that dares enter here to seek the Queen, [Puts his Hand to his Sword. Had better snatch the She from the fierce side Of a young amorous Lion, and ‘twere safer.— Again, more knocking!— [Knocking.

Zar. My gracious Lord, it is your Brother, Don Alonzo.

Abd. I will not have him enter—I am disorder’d.

Zar. My Lord, ‘tis now too late. Enter Alonzo.

Alon. Saw you not the Queen, my Lord?

Abd. My Lord!

Alon. Was not the Queen here with you?

Abd. The Queen with me! Because, Sir, I am married to your Sister, You, like your Sister, must be jealous too: The Queen with me! with me! a Moor! a Devil! A Slave of Barbary! for so Your gay young Courtiers christen me—But, Don, Altho my Skin be black, within my Veins Runs Blood as red, and royal as the best.— My Father, Great Abdela, with his Life Lost too his Crown; both most unjustly ravish’d By Tyrant Philip, your old King I mean. How many Wounds his valiant Breast receiv’d E’er he would yield to part with Life and Empire: Methinks I see him cover’d o’er with Blood, Fainting amidst those numbers he had conquer’d. I was but young, yet old enough to grieve, Tho not revenge, or to defy my Fetters: For then began my Slavery; and e’er since Have seen that Diadem by this Tyrant worn, Which crown’d the sacred Temples of my Father, And shou’d adorn mine now—shou’d! nay, and must— Go tell him what I say—’twill be but Death— Go, Sir,—the Queen’s not here.

Alon. Do not mistake me, Sir,—or if I wou’d, I’ve no old King to tell—the King is dead— And I am answer’d, Sir, to what I came for, And so good night. [Exit.

Abd. Now all that’s brave and villain seize my Soul, Reform each Faculty that is not ill, And make it fit for Vengeance, noble Vengeance. Oh glorious Word! fit only for the Gods, For which they form’d their Thunder, Till Man usurp’d their Power, and by Revenge Sway’d Destiny as well as they, and took their trade of killing. And thou, almighty Love, Dance in a thousand forms about my Person, That this same Queen, this easy Spanish Dame, May be bewitch’d, and dote upon me still; Whilst I make use of the insatiate Flame To set all Spain on fire.— Mischief, erect thy Throne, And sit on high; here, here upon my Head. Let Fools fear Fate, thus I my Stars defy: The influence of this—must raise my Glory high. [_Pointing to his Sword.

[Exit_.

SCENE II. A Room in the Palace.

Enter Ferdinand weeping, Ordonio bearing the Crown, followed by Alonzo, leading Leonora weeping; Florella, Roderigo, Mendozo, met by the Queen weeping; Elvira and Women.