_Believe as You List_ probably represents an adaptation of this
play, with classical names and setting substituted for the original
plot. _Cf._ Appendix VII.
64 Chapman had to suppress a considerable part of _The Tragedy of
Byron_, which referred to quite recent events in France. But the
censorship seems to have become much more stringent in Massinger’s
days.
_ 65 The King and the Subject_; now lost. The play was performed, after
alterations had been made, under another title. Sir H. Herbert
wrote, “Received of Mr. Lowen’s for my paines about Massinger’s play
called _The King and the Subject_, 2nd June, 1638, £1.”
66 Malone’s _Shakspere_ (ed. 1790), vol. i., pt. 2, p. 235.
_ 67 Bondman_, I., 3.
68 I., 1, 49-56. _Cf._ also _Great Duke of Florence_, I., 1, 75-84.
Sanazarro is one of the better type of favourites.
69 I., 1, 23-36.
70 III., 1, 10-17.
71 III., 3, 135.
72 IV., 5, 52. _Cf._ also _Great Duke of Florence_, I., 1, 73-84.
_ 73 Cf._ especially the offer made by the Informer to Paulinus, I., 2,
69-89.
74 1st quarto, “pole.”
75 I., 2, 236-257.
76 IV., 1, 136-147.
77 I., 1, 220-233.
78 Middleton refers to “the great Armada” in _A Trick to Catch the Old
One_, III., 4; Dampit: “In Anno ’88, when the great Armada was
coming.” _Cf._ _The Alchemist_, IV., 2.
_ 79 Cf._ Champernal in _The Little French Lawyer_, and Alberto in _The
Fair Maid of the Inn_. Notice too the zest with which Valerio (_A
Wife for a Month_, V., 3) describes the sea-action with the Turks.
80 The question whether Massinger knew Greek is discussed in Appendix
II. To take one play only, _The Maid of Honour_, we find classical
allusions in I., 1, 240; I., 2, 36, 107-128; II., 1, 48; II., 2, 23;
II., 3, 26; II., 4, 17; II., 5, 13, 28; III., I, 29; III., I, 194;
IV., 4, 13; IV., 4, 97, 108, 109; IV., 4, 140-145.
_ 81 N. S. S._, xxvi., p. 581.
_ 82 Englische Studien_, V., 93.
83 I., 2, 27.
84 Also called _The Prince of Tarent_. It would have been easier for
Fletcher to imitate Massinger than for Massinger to imitate
Fletcher. The pathos and comedy of the latter were alike out of our
author’s range.
85 III., 1, 39.
86 See discussion on p. 141.
_ 87 Cf._ Appendix III.
88 The question suggests itself at once: Did Massinger ever collaborate
with Beaumont? Mr. Macaulay does not face this problem in his
interesting monograph on Beaumont; indeed, he ignores Massinger’s
undoubted claims to have collaborated with Fletcher, though he makes
full amends for this omission in his article in the _Cambridge
History of English Literature_. Boyle at one time thought that
Massinger worked with Beaumont and Fletcher in _The Honest Man’s
Fortune_ and _The Knight of Malta_ (_N. S. S._, pp. 589-590).
89 From the nature of the case the idea is not new; thus Weber, in the
Preface to the 1812 Edinburgh edition of Beaumont and Fletcher,
attributes the completion of _The Lover’s Progress_, _Love’s
Pilgrimage_, and the character of Septimius in _The False One_ to
Massinger. Fleay (_Shakespeare Manual_, p. 152) makes out a list of
ten of Fletcher’s plays in which he traces Massinger’s hand. _Cf._
Appendix III.
_ 90 Eng. St._, VII., 75.
91 Reprinted 1877. Congleton. A copy of the original book is to be seen
at Shakspere’s birthhouse, Stratford-on-Avon.
92 An inauspicious date for such a publication!
93 There are many touches in _Henry VIII_ which remind one of
Massinger; and not a few passages in Massinger remind one of _Henry
VIII_. Take as an example _City Madam_, III., 2, 111.
LUKE. O my lord!
This heap of wealth, which you possess me of,
Which to a worldly man had been a blessing,
And to the messenger might with justice challenge
A kind of adoration, is to me
A curse I cannot thank you for; and, much less
Rejoice in that tranquillity of mind
My brother’s vows must purchase. I have made
A dear exchange with him: he now enjoys
My peace and poverty, the trouble of
His wealth conferr’d on me; and that a burthen
Too heavy for my weak shoulders.
LORD LACY. Honest Soul,
With what feeling he receives it!
Or this from _The Bashful Lover_, IV., 2, 87.
ALONSO. She cause, alas!
Her innocence knew no guilt, but too much favour.
To me unworthy of it; ’twas my baseness,
My foul ingratitude—what shall I say more?
The good Octavio no sooner fell
In the displeasure of his prince, his state
Confiscated, and he forced to leave the Court,
And she exposed to want; but all my oaths
And protestation of service to her,
Like seeming flames, raised by enchantment, vanish’d;
This, this sits heavy here.
_Cf._ also _City Madam_, I., 2,126-134. I feel inclined to say that
Massinger knew _Henry VIII_ by heart. _Cf. infra_, pp. 84, 85.
_ 94 The Two Noble Kinsmen_ is a remarkable play, full of fine poetry
and lofty thought. On the other hand, its technique is very
immature. The Gaoler’s daughter’s soliloquies are inartistic, and at
times ludicrous. The play has at once the dignity of an early period
and the complexity of style with which we are familiar in
Shakspere’s later manner. One thing is clear: Act I. is by a
different hand from the rest. Perhaps Shakspere and Fletcher touched
up an old anonymous play.
See, however, discussion _infra_, pp. 84-104.
_ 95 Cf._ Appendix V.
96 Mr. Halliwell Philipps, in his MS. note to _Believe as You List_,
now in the British Museum, expresses himself as sceptical of the
Warburton legend. _Cf._ Greg’s _Bakings of Betsy_ (_Library_, July,
1911).
97 Shakspere, III., p. 275. _Cf._ Downes’ _Roscius Anglicanus_, pp. 18,
52.
98 Diary, 1848 edition, I., p. 192; IV., p. 373.
99 Gayley’s _Representative English Comedies_, p. 319.
100 Gifford’s edition of Massinger, in four volumes, is one of the
classics of our literature, though careless in details.
101 To Hazlitt, however, we owe, in his estimate of Sir Giles Overreach,
one of the most brilliant pieces of English prose that we possess.
102 (_E. D. L._, iii., p. 42) “In Massinger we seem to recognize a man
who firmly believes in the eternal difference between right and
wrong, and never consciously swerves aside from the canon he
acknowledges.”
_ 103 N. S. S._, xxvi., p. 586.
_ 104 Iphigenia auf Tauris_, IV., 4: “Ich untersuche nicht, ich fühle
nur.”
105 Dr. Bradley (_Oxford Lectures_, p. 383) points out that “the average
play of Shakspere’s day has great merits of a strictly dramatic
kind, but it is not ‘well-built,’ it is not what we mean by ‘a good
play.’ ” He traces this fault to the multiplication of scenes, which
the absence of scenery in those days made easy.
106 Gayley points out (_R. E. C._, p. xci.) that, “Shakspere and
Fletcher excepted, Massinger has been adjudged by posterity the most
successful of the practical dramatists of the early seventeenth
century.” He suggests (_R. E. C._, p. xcv.) that with slight and
judicious modification an enterprising actor-manager might
successfully produce _A New Way_, _The Maid of Honour_, _The City
Madam_, and perhaps _The Bondman_.
107 Aristotle, _Rhetoric_, III., p. 1404_b_.
108 IV., 2. On the other hand, we should remember that our author did
not invent this incident, but took it from Byzantine history. _Cf._
Gibbon’s _Decline and Fall_, chapter xxxii.
_ 109 Bondman_, II., 1, 187. _Cf._ ὁ ἄφωνος in Ar. _Poetics_, 1460 a. 32.
_ 110 Cf._ _The Sea Voyage_ and _The Double Marriage_.
_ 111 Roman Actor_, III., 2, 71; _Virgin Martyr_, V., 2, 206. _Cf._ Dr.
Bradley’s remarks (_Oxford Lectures_, p. 366, note) on the blinding
of Gloucester in _King Lear_. When the Duke in Ford’s _Love’s
Sacrifice_ (V., 3) stabs himself and cries aloud:
Sprightful flood,
Run out in rivers! O, that these thick streams
Could gather head, and make a standing pool,
That jealous husbands here might bathe in blood;
the words can only produce an anticlimax in the spectator’s mind,
however effective they may be to the reader. Massinger is more
dexterous in _The Fatal Dowry_, IV., 4, 154: “Yes, sir; this is her
heart’s blood, is it not? I think it be.” There is a similar
difficulty about D’Amville in _The Atheist’s Tragedy_ (V., 2)
knocking out his brains with the executioner’s axe; and about
Scaevola in _The Rape of Lucrece_ (V. 4) burning off his hand. _Cf._
also Bajazet and Zabina in _Tamburlaine_, Pt. I., V., 1, and
Tamburlaine himself in Pt. II., III., 2.
112 Needless to say, the idea is not original; it is already a marked
feature of Marlowe’s _Tamburlaine_ and _Faustus_; but the device
does not often work so smoothly as in Massinger.
113 II., 2, 59-77. _Cf._ _The Virgin Martyr_, I., 1 (the three kings);
_Emperor of the East_, II., 1 (Theodosius and his courtiers); _A New
Way_, I., 3, 43 (the servants); _City Madam_, IV., 1 (Luke and the
three creditors); IV., 2 (Luke and the two apprentices); _Bashful
Lover_, I., 1 (Matilda and the waiting-women); V., 1 (Octavio and
three friends); _Bondman_, I., 3 (Timoleon and four senators);
_Unnatural Combat_, II., 2 (Theocrine and three attendants); _Great
Duke of Florence_, I., 2 (three councillors); II., 2; V., 2 and 3
(Cozimo and courtiers); _Guardian_, IV., 4 (Severino and four
banditti); _Maid of Honour_, I., 1 (Bertoldo and the two heirs “city
bred”); _Roman Actor_, IV., 1, 98; V., 1, 213 (the three tribunes);
V. 2, 1-19 (the conspirators); _Duke of Milan_ I., 3, _ad init._
(three gentlemen). We find this method again and again in Webster;
_cf._ _The Duchess of Malfi_, p. 63_a_; p. 78_b_; p. 80_b_; _The
White Devil_, p. 56; p. 42_a_; _The Devil’s Law-case_, p. 111_b_; p.
116_a_. _Cf._ also Cymbal and Fitton in _The Staple of News_, I., 2;
and the three courtiers in _Cupid’s Revenge_.
114 The exact cause of the son’s anger is the murder of his mother by
his father. The secret is not revealed until Act V., 2, 122, though
it is hinted at in II., 1, 118-120. The son knows nothing of the
other terrible charge.
115 In _The Renegado_ the brother and sister are not revealed until V.,
4.
116 IV., 3.
117 I., 1.
118 The best instance of Euripidean art is the scene in _The Emperor of
the East_ (II., 1), where all the arguments for the Emperor’s speedy
marriage are cleverly amassed. _Cf._ also Luke’s appeal for mercy to
the creditors in _The City Madam_, I., 3; the long preparation which
Sforza makes in _The Duke of Milan_, I., 3, 268; the skill which
leads up to the disclosure of Marullo’s name in _The Bondman_ (IV.,
3, 124), and the way in which he persuades the slaves to revolt
(II., 3). For other instances of what we may call the gradual
method, compare _The Virgin Martyr_, I., 1, 294, and _A Very Woman_,
V., 4, 91.
_ 119 Cf._ _Fatal Dowry_, I., 2; IV., 4; V., 2; _Roman Actor_, I., 3;
_Bondman_, I., 3; _Parliament of Love_, V., 1; _Great Duke of
Florence_, V., 3.
120 Here he incurs the censure of Milton on such plays (Preface to
_Samson Agonistes_): “This is mentioned to vindicate tragedy from
the small esteem, or rather infamy, which in the account of many it
undergoes at this day with other common interludes; happening
through the poet’s error of intertwining comic stuff with tragic
sadness and gravity; or introducing trivial and vulgar persons,
which by all judicious hath been counted absurd, and brought in
without discretion, corruptly to gratify the people!”
_ 121 Cf._ Shakspere’s _Julius Caesar_, where the hero dies in the third
act; but the plot is not felt to have exhausted itself until Brutus
and Cassius are disposed of.
122 Massinger is very sparing in his use of prose in his plays, though
Fleay goes too far when he says: “Neither Fletcher nor Massinger
admits prose” (_Shakespeare Manual_, p. 71). The grace of
Massinger’s dedications is very marked when compared with the
stilted and obscure style of Ford’s.
123 C. Lamb.
124 Lines referring to Massinger quoted by Langbaine.
_ 125 Bondman_, IV., 2, 51-88.
126 I., 2, 147.
127 I., 3, 268-30 6.
128 I., 3, 49-142.
129 II., 4, 22-35.
130 I., 3, 51-74.
131 IV., 3, 124-138.
132 V., 1, 42-60.
_ 133 Cf._ Prologue to _Henry V_, line 4, a passage imitated and expanded
in _The Virgin Martyr_, V., 2, 98-102.
134 We have a Somersetshire rustic in _The Emperor of the East_, IV., 2.
_Cf._ Schmidt’s _Shakespeare Lexicon_, Appendix II., p. 1424. “In
general it can be said that Shakspere abstains from the use of
provincial dialects, as characteristic of his dramatical persons....
It is only on one occasion that he seems to imitate the peculiar
speech of a certain dialect: _King Lear_, IV., 6, 239-251.
Concerning the particular county there referred to English scholars
have been of different opinions. Steevens pleads for Somersetshire,
in the dialect of which rustics were commonly introduced by ancient
writers; Collier inclines to decide in favour of the North.” _Cf._
Mr. H. Bradley’s remarks in _Shakspere’s England_, II., p. 570. In
_Bartholomew Fair_, IV., 3, a contrast is drawn between the dialect
of a rustic from the West and one from the North. Urania’s dialect
in _Cupid’s Revenge_ cannot be pronounced a success, or Antonio’s
Irish in _The Coxcomb_.
_ 135 City Madam_, II., 2, 128. Among the things which Anne demands from
her suitor, is:
A fresh habit,
Of a fashion never seen before, to draw
The gallants’ eyes, that sit on the stage, upon me.
_Cf._ also Induction to _The Malcontent_; Induction to _The Staple
of News_; Induction to _Cynthia’s Revels_; Fitzdottrel in _The Devil
is an Ass_, I., 3; Induction to _Knight of the Burning Pestle_;
_Woman-Hater_, I., 3; Prologue to _All Fools_; and Dekker’s _The
Guls Horne-booke_, Chapter VI.
_ 136 Hours in a Library_, ii., p. 171. Leslie Stephen elsewhere (pp.
167-171) does justice to Massinger’s “romantic tendency.” “The
chivalrous ideal of morality involves a reverence for women which
may be exaggerated or affected, but which has at least a genuine
element in it. The same vein of chivalrous sentiment gives a fine
tone to some of Massinger’s other plays; to _The Bondman_, for
example, and _The Great Duke of Florence_, in both of which the
treatment of lovers’ devotion shows a higher sense of the virtue of
feminine dignity and purity than is common in the contemporary
stage.”
_ 137 The Virgin Martyr_, IV., 3, 72-92. _Cf. Believe As You List_, IV.,
2, 183-204.
138 I., 1, 103-114. The whole play exhibits this element of grace more
than any other of our author. It should be acted by Lysis and
Charicles, Glaucon and Adeimantus.
139 IV., 3, 175. It is to be noted that great courtesy is observed and
expected in greetings and leave-takings in Massinger’s plays. Thus
in _The Virgin Martyr_, II., 2, Macrinus gets into trouble for the
curtness of his salutation; similarly, Wellborn in _A New Way_, V.,
1, 114. Compare also _Roman Actor_, IV., 1, 67; _A Very Woman_, I.,
l, 147.
140 I., 1, 246.
141 I., 2, 36.
142 II., 2, 71.
143 I., 1, 77.
144 IV., 2, 96.
145 III., 2, 92.
146 V., 2, 51.
147 I., 2, 162-175.
148 II., 3, 28-32.
149 I., 2, 136-141.
150 IV., 2, 46.
151 I., 2, 17.
152 I., 5, 44. The longest series of parentheses in Massinger is to be
found in Cardenes’ speech in _A Very Woman_ (I., 1, 240-256). For
clumsy periods see _Fatal Dowry_, IV., 2, 99-104; V., 2, 23-34;
_Roman Actor_, IV., 2, 123-128.
_ 153 Our Debt to Antiquity_, Eng. trans, by Strong and Stewart, p. 75.
154 It is needless to say how common this idiom is in Shakspere,
Webster, Shirley, and other authors of the period. I only mention it
because it lends itself in a peculiar way to the suppleness of
Massinger’s style.
155 I., 1, 18-32.
156 I., 3, 339.
157 V., 1, 25.
158 III., 3, 4.
159 V., 2, 22.
_ 160 Contemporaries of Shakespeare_, p. 183. Though I do not accept all
Mr. Swinburne’s estimates, I am at once pleased and humiliated at
the thought that he has expressed so much better than myself many of
my conclusions about Massinger.
161 V., 1, 51.
162 III., 1, 302.
_ 163 The Renegado_, III., 1, 30-39.
164 Oliphant (_Englische Studien_, xiv., 60) notes this feature as
Fletcherian.
165 Boyle, _N. S. S._, Trans., p. 378.
_ 166 Op. cit._, p. 403.
_ 167 E. S._, vii. 70.
_ 168 N. S. S._, xxvi. 584. The “run-on” line ends with a preposition or
other word which syntactically requires the next line. Take as an
example _Fatal Dowry_, V., 2, 255:
For the fact, as of
The former, I confess it; but with what
Base wrongs I was unwillingly drawn to it,
To my few words there are some other proofs
To witness this for truth.
The “double” or “feminine” ending is the outstanding feature of
Fletcher’s verse. _Cf._ _Fatal Dowry_, V., 2, 137:
ROCHFORT. You say you are sorry for him;
A grief in which I must not have a partner.
’Tis I alone am sorry, that when I raised
The building of my life, for seventy years,
Upon so sure a ground, that all the vices
Practised to ruin man, though brought against me,
Could never undermine, and no way left
To send these grey hairs to the grave with sorrow,
Virtue, that was my patroness, betrayed me.
(Gifford inserts “when” in that third line.)
Five instances in nine lines. Fleay (_Shakespeare Manual_, p. 171)
points out that in Shakspere’s part of _Henry VIII_ the proportion
of double endings to blank verse is 1 to 3; in Fletcher’s, 1 to 1·7.
The weak and sugary effect of double endings is very apparent in
Rowe’s _Fair Penitent_, the eighteenth-century play, based on _The
Fatal Dowry_.
Boyle (_E. S._, v. 74) takes six of Massinger’s plays: _The
Unnatural Combat_, _The Duke of Milan_, _The Bondman_, _The City
Madam_, _The Bashful Lover_, and _The Guardian_. These are his
conclusions: “The plays show in general a high percentage of double
endings, generally 40 per cent, or more. The percentage of run-on
lines is a little lower, but seldom sinks for more than a scene
below 30 per cent. The light and weak endings together make 5 to 7
per cent. The versification is exquisitely musical. There are very
few rhymes.” The corresponding figures for Fletcher are: double
endings, over 50 per cent.; run-on lines, under 20 per cent.; and
light and weak endings almost negligible; rhyme, rare. Shakspere in
his later manner (e.g., _The Tempest_) has 33 per cent. double
endings. (_E. S._, vi. 71.)
169 Fleay (_Shakespeare Manual_, p. 123) takes a piece of Dryden’s _All
for Love_, and rewrites it, as far as metre (and metre only) is
concerned, in the styles of Fletcher, Beaumont, Massinger, Greene,
and Rowley.
170 IV., 3, 5-24.
171 I., 2, 49-71.
172 In this respect Massinger resembles Beaumont and Ford, whose metre
in divided lines, unlike Webster’s and Fletcher’s, is very regular.
Shirley’s plays are full of lame lines. For strict division _cf._
_City Madam_, I., 3, 44; II., 1, 109; V., 1, 4 and 70; V., 2, 66;
V., 3, 126; _Guardian_, I., 1, 80, 221, 308; II., 3, 116; III., 2,
61; IV., 3, 16; _New Way_, I., 2, 48 and 63; II., 2, 151; III., 2,
241; V., 1, 233; _Very Woman_, I., 1, 26 and 147; V., 6, 31;
_Bashful Lover_, I., 1, 114, 163, and 207; II., 2, 36, 37; II., 3,
9; II., 4, 42; III., 1, 99; III., 3, 71 and 80; V., 1, 39, 40, 48,
50, 176; _Roman Actor_, I., 3, 32. Instances can be given of lines
divided between four speakers—e.g., _Very Woman_, V., 3, 23; V., 4,
167; _Bashful Lover_, II., 7, 20; _Roman Actor_, I., 4, 50; IV., 1,
83; _Guardian_, V., 4, 209. The carelessness of the metre in _The
Old Law_ is in itself proof that Massinger had little to do with it.
173 An instance of “emphatic” double-ending (_Oliphant_, _E. S._, xiv.,
71), common in Fletcher, rare in Massinger.
174 I., 5, 38.
175 V., 1, 226.
_ 176 Cf._ also Matilda in _The Bashful Lover_ (IV., 3, 170), and Olinda
in _The Lovers’ Progress_.
_ 177 Frogs_, l. 1413.
_ 178 Cf._ the dialogue in _A Very Woman_, I., 1, 1-24. “Heaven’s
greatest blessings” (line 21) is a very characteristic phrase. _Cf._
also _Emperor of the East_, II., 1, 216.
179 Boyle (_N. S. S._, 385-88) is severe but not, to my mind,
convincing. Reading between the lines, one arrives at the conclusion
that Boyle admired Massinger enormously, and would have allowed none
else to abuse him except himself. _Cf._ his spirited attack on
Charles Lamb’s “unfair judgment” (pp. 371-2).
180 Rubens took his wives as models for his art; let us hope that
Massinger’s portrait of the imperious woman was not drawn from his
wife. We happen to know that he was married.
181 I., 1. _Cf._ also Matilda in _The Bashful Lover_ (III., 3, 147), and
Donusa in _The Renegado_ (II., 4).
182 IV., 1; V., 4. _Cf._ also Thamasta in Ford’s _Lover’s Melancholy_
(III., 2), Calantha’s request to her father in _The Broken Heart_
(IV., 3), Fiormonda in _Love’s Sacrifice_ (I., 2), Hidaspes in
_Cupid’s Revenge_ (I., 3).
183 Act I., 3.
184 III., 1, 161. _Cf._ also _Romeo and Juliet_, I., 5, 95.
185 The situation is not unknown in modern fiction; take, for example,
_Dr. Breen’s Practice_ and _The House of Lynch_. _Cf._ Jebb’s
_Bentley_, p. 197.
_ 186 Op. cit._, p. 317.
187 A favourite phrase of Massinger’s—e.g., _Emperor of the East_, II.,
1, 345; V., 2, 83; _Great Duke of Florence_, II., 3, 112; _Unnatural
Combat_, I., 1, 312; IV., 1, 110; _Parliament of Love_, II., 3, 77.
188 B. Matthews, p. 318.
189 Especially Sir A. W. Ward (_English Dramatic Literature_, iii., pp.
41-42). _Cf._ also G. C. Macaulay in _Cambridge History of English
Literature_, vol. vi., p. 121, and Schelling’s verdict.
190 The Venetian in _The Renegado_.
191 Dr. Bradley (_Oxford Lectures_, pp. 373-4) minimizes the objections
to this custom, without, however, dwelling on the moral problem.
_Cf._ also Mr. Percy Simpson’s remarks in _Shakspere’s England_,
ii., p. 246. Prynne deals with it (_Histriomastix_, ed. 1633, pp.
214-216). He allows, reluctantly, that “men actors in women’s attire
are not altogether so bad, so discommendable as women
stage-players,” but goes on to say: “since both of them are evill,
yea extremely vitious, neither of them necessary, both superfluous
as all playes and players are; the superabundant sinfulnesse of the
one, can neither justifie the lawfulnesse, nor extenuate the
wickednesse of the other.... This should rather bee the conclusion,
both of them are abominable, both intolerable, neither of them
laudable or necessary; therefore both of them to bee abandoned,
neither of them henceforth to be tollerated among Christians.”
Ford, in _Love’s Sacrifice_ (III., 2), refers to the novelty of
women-antics—_i.e._, of women acting in masques. It is clear that
Queen Henrietta Maria, with her passion for appearing on the stage
in masques, however much she may have been before the times, must
have caused great scandal to the Puritan party. The complications
which sometimes arise from the use of men for female parts may be
illustrated from Middleton’s amusing play, _The Widow_, where Martia
is disguised as a man, Ansaldo, and, to escape further
complications, is subsequently disguised as a woman, _being a boy
all the time_. We find the same thing in the second Luce in _The
Wise Woman of Hogsdon_.
_ 192 Supra_, p. 38.
193 Though Massinger does not owe much to Chapman, it is to be noted
that this trick of repeating a phrase occurs several times in
Chapman’s popular play, _Bussy d’Ambois_. _Cf._ III., 1., “He shall
confess all, and you then may hang him,” and towards the end of the
same Act, “Ay, anything but killing of the King;” and in _The
Conspiracy of Byron_, Act II., in La Fin’s speech, “I can make good”
four times at the end of the line. _Cf._ “Behold the Turk and his
great Empress” in _Tamburlaine_, pt. I., V., 1; “I love my lord; let
that suffice for me” in Greene’s _Orlando Furioso_, I., 1.
_ 194 A Very Woman_, III., 4.
195 A few instances of γνῶμαι may be given from Massinger; his debt to
Shakspere will be clear:
_Fatal Dowry_, I., 1, 20:
There is a minute
When a man’s presence speaks in his own cause
More than the tongues of twenty advocates.
_Guardian_, I., 1, 241:
For a flying foe
Discreet and provident conquerors build up
A bridge of gold.
_Guardian_, IV., 1, 99:
O dear madam,
We are all the balls of time, toss’d to and fro,
From the plough unto the throne, and back again;
Under the swing of destiny mankind suffers.
(_Cf._ _Plautus’ Captivi_, Prologue, 22, “Enimvero di nos quasi
pilas homines habent;” _Pericles_, II., 1, 63; and _The Duchess of
Malfi_, p. 99_a_; _Parliament of Bees_, char, vii.)
_Bashful Lover_, IV., 1, 69:
Fortune rules all;
We are her tennis-balls.
(_Cf._ also Greg’s _Henslowe Papers_, p. 143.)
_Bashful Lover_, III., 2, 3:
A diamond,
Though set in horn, is still a diamond
And sparkles, as in purest gold.
_Very Woman_, IV., 1, 90:
Revenge, that thirsty dropsy of our souls,
Which makes us covet that which hurts us most,
Is not alone sweet, but partakes of tartness.
_Duke of Milan_, I., 1, 60:
Dangers that we see
To threaten ruin, are with ease prevented;
But those strike deadly that come unexpected.
_Great Duke of Florence_, III., 1, 138:
Love
Steals sometimes through the ear into the heart,
As well as by the eye.
_Picture_, II., 1, 79:
Ill news, madam,
Are swallow-wing’d, but what’s good walks on crutches.
_Virgin Martyr_, IV., 1, 103:
Pleasures forc’d
Are unripe apples; sour, not worth the plucking.
_A New Way_, IV., 1, 187:
Though I must grant
Riches, well-got, to be a useful servant,
But a bad master.
_Bondman_, I., 3, 100:
He that would govern others, first should be
The master of himself, richly endu’d
With depth of understanding, height of courage,
And those remarkable graces which I dare not
Ascribe unto myself.
_Bondman_, III., 1, 6:
But turbulent spirits, raised beyond themselves
With ease, are not so soon laid; they oft prove
Dangerous to him that call’d them up.
_ 196 Hours in a Library_, i., p. 167.
_ 197 Poetics_, 1460_b_, 4.
_ 198 Cf._ Appendix VI. and the discussion in Robert Bridges’ _Milton_,
Appendix D, pp. 56-57. The same thing is found again and again in
Shirley’s _Lady of Pleasure_.
199 For a rhymed passage _cf._ _A Very Woman_, IV., 1, 141-152.
200 We have a few unimportant poems in rhyme from his pen, which show
the same characteristics of style as his blank verse, though
fettered by the restraints of the couplet. Some of his songs are not
at all bad; _cf._; for example, _Emperor of the East_, V., 3: “Why
art thou slow, thou rest of trouble, Death?” _Guardian_, IV., 2, The
songs of Juno and Hymen; V., 1, the “entertainment of the Forest’s
Queen.” _Picture_, II., 2, the song of Pallas; III., 5, song
beginning, “The blushing rose and purple flower.” It must, however,
be conceded that these songs are commonplace.
_ 201 Maid of Honour._ The same name is found in Ben Jonson’s unfortunate
_New Inn_, produced in 1629. _Cf._ also _City Madam_, II., 2, 182:
MARY. Whose sheep are these, whose oxen? The Lady Plenty’s.
PLENTY. A plentiful pox upon you.
_New Way_, IV., 2, 2:
Did not Master Marrall
(He has marr’d all I am sure) strictly command us?
_New Way_, IV., 2, 68:
No, though the great Turk came, instead of turkies
To beg any favour, I am inexorable.
202 Belgrade in _The Unnatural Combat_.
203 Boyle (_N. S. S._, pp. 588-9) points out that Massinger “succeeds
admirably in depicting the witty pertness of a saucy page.” It does
not, therefore, follow that he had been one himself, as has been
supposed by some.
204 In _The New Way_ and _City Madam_.
205 Mr. Ben Greet’s Company has from time to time given a charming
alfresco performance of _The Great Duke of Florence_.
206 Preface to Sir John V. O. Barnavelt (_Old Plays_, vol. ii., p. 204).
_ 207 Op. cit._, p. 405.
_ 208 Op. cit._, p. 312.
_ 209 Cf._ Sforza in _The Duke of Milan_; Theodosius in _The Emperor of
the East_; and especially, Leosthenes in _The Bondman_.
210 The first quarto of _Othello_ appeared in 1622, _The Duke_ in 1623.
211 Perhaps Macbeth and Lady Macbeth are the only instances. Notice in
_Henry VIII_ various rapid changes of mind—_e.g._, III., 2, 336:
SURREY. “I forgive him”; V., 2, 172: GARDINER. “With a true heart
and brother love I do it.” Henry V and Antony are other instances
which will occur to everyone. In the case of the former, at any
rate, I for one feel that Shakspere cuts the Gordian knot.
212 The soliloquy of Luke over his brother’s wealth is one of the most
splendid efforts of eloquence in English. (_City Madam_, III., 3.)
_ 213 Guardian_, I.
214 I., 1.
215 I., 2.
216 V., 2, 129.
217 IV., 3, 133:
VITELLI. Your intent to win me
To be of your belief, proceeded from
Your fear to die. Can there be strength in that
Religion, that suffers us to tremble
At that which every day, nay hour, we haste to?
DONUSA. This is unanswerable, and there’s something tells me
I err in my opinion.
_ 218 Virgin Martyr_, III., 1, 186.
219 IV., V. _Cf._ especially IV., 1, 138:
LORENZO. Stay, I feel
A sudden alteration.
MARTINO. Here are fine whimsies.
_ 220 Poetics_, 1454_a_, 33.
221 III., 3; V., 3, 33. After all, Corisca does not repent of her worst
faults, only of her luxury and cruelty to her slaves. _Cf._ also The
Projector in _The Emperor of the East_, I., 2, 257. On the other
hand, the conversion of the courtiers in the same play (II., 1, 154)
is according to character.
_ 222 Poetics_, 1454_a_, 26.
_ 223 Poetics_, 1454_a_, 28.
224 Leslie Stephen has anticipated me here. “The truth seems to be that
Massinger is subject to an illusion natural enough to a man who is
more of the rhetorician than the seer. He fancies that eloquence
must be irresistible. He takes the change of mood produced by an
elevated appeal to the feelings for a change of character” (_Hours
in a Library_, ii., p. 164).
225 Here again I find myself in agreement with Leslie Stephen.
“Massinger’s plays are a gradual unravelling of a series of
incidents, each following intelligibly from the preceding situation,
and suggestive of many eloquent observations, though not
developments of one master thought. We often feel, that if external
circumstances had been propitious, he would have expressed himself
more naturally, in the form of a prose romance than in a drama”
(_Op. cit._, ii., p. 157). _Cf._ also Coleridge’s remark that
Massinger’s plays are “as interesting as novels.” How much
character-drawing is there in Boccaccio or Paynter?
226 Mr. Nichol Smith (_Shakspere’s England_, ii., p. 202) doubts the
“association of Pembroke with Shakspere.”
227 Sir Sidney Lee (_Life of W. Shakespeare_, 1915, p. 441) notes “the
almost magical success” with which Massinger echoes Shakspere’s
tones.
228 In a “mock” romance published at London in 1656, _Wit and Fancy in a
Maze_ (Book 2, chapter iv.), the Enchantress Lamia and the hero Don
Zara del Fogo go to Elysium and find everything in an uproar. Ajax
and Ulysses are quarrelling; Homer and Hesiod; Statius and Virgil.
Last of all Ben Jonson “had openly vaunted himself the first and
best of English poets.” This is much resented by Chaucer, Chapman,
and Spenser; last of all Shakspere and Fletcher appear “with a
strong party” to claim the first place. Among “their life guard” are
mentioned Goffe, Massinger, Dekker, Webster, Suckling, Cartwright,
Carew. Did Ben Jonson dislike Massinger as Mr. Phelan conjectures?
229 II., 1, 100.
230 IV., 2.
231 IV., 3.
232 I., 3.
233 III., 1, 261.
234 III., 1.
235 II., 4. The good brigand goes back beyond Robin Hood to Herodotus,
VI. 16.
236 IV., 1.
237 Compare especially V., 2, 104 with _Midsummer Night’s Dream_, II.,
2, 145.
238 II., 1, 22.
239 II., 4.
240 III., 1, 24.
241 II., 7.
_ 242 Unnatural Combat_, III., 2, 13.
243 IV., 3.
244 III., 3, 91-2.
245 IV., 1.
246 IV., 5.
247 III., 4.
248 II., 2, 93.
_ 249 Othello_, III., 3.
250 V., 1, 376. _Cf._ also Security in prison in _Eastward Ho_ (Act V.);
Grimaldi in _The Renegado_ (IV., 1, 4).
251 III., 4, 148. On the other hand, Paulo in _A Very Woman_ (III., 3,
5) observes:
To choke up his spirits in a dark room,
Is far more dangerous.
252 II., 3.
253 V., 2.
254 V., 1.
255 I., 3, 49. Rowley uses the metaphor in the dedication of _A Fair
Quarrel_.
256 II., 7.
257 III., 1, 49.
258 IV., 1. The language of Ding’em in _The City Madam_ (IV.; 1, 15)
takes us back to Pistol:
Thy word’s a law,
And I obey. Live, scrape-shoe, and be thankful,
Thou man of muck and money, for as such
I now salute thee; the suburbian gamesters
Have heard thy fortunes, and I am, in person,
Sent to congratulate.
_Cf._ also _A New Way_, I., 2, 59:
FURNACE. “I am appeased, and Furnace now grows cool.”
259 I., 2, 318. _Cf._ _Prophetess_, I., 2, 31:
I presently, inspired with holy fire,
And my prophetic spirit burning in me,
Gave answer from the gods.
_Double Marriage_, II., 4, 30:
Who stole her? Oh! my prophetic soul!
260 I., 5, 40.
261 IV., 2, 39.
_ 262 Virgin Martyr_, III., 3, 46.
263 III., 1, 118.
264 V., 1, 170.
265 II., 1, 99. _Cf._ also _Roman Actor_, III., 2, 35.
266 IV., 1, 1.
267 III., 2, 18.
_ 268 Coriolanus_, I., 1, 99.
269 I., 2, 40. _Cf._ also _A New Way_, I., 3, 88, and _Emperor of the
East_, V., 2, 83:
I am flesh and blood, as you are, sensible
Of heat and cold, as much a slave unto
The tyranny of my passions as the meanest
Of my poor subjects.
270 III., 1.
271 IV., 1, 103.
272 II., 1, 54.
273 II., 5.
274 IV., 3, 131-137.
275 II., 1, 38. _Cf._ Bradley, _Shakspearean Tragedy_, p. 268.
276 Thus, to take an instance at random, the madness of the Englishman
is referred to in Webster’s _Malcontent_ (III. 1).
_ 277 Cf._ also Appendix IV.
278 IV., 1.
279 IV., 1, 1. The last line shows how prosaic Massinger could on
occasion be. In judging our older writers, however, it is important
to remember that words change their poetical value with time; it is
clear, for example, that in James I.’s age, “undertaker,”
“proceedings,” “punctually,” “aunt,” were regarded as legitimate in
poetry.
280 V., 2, 49-54.
281 II., 2, 23.
_ 282 A Very Woman_, II., 2, 96.
283 IV., 4.
284 V., 2.
285 II., 1.
286 II., 2, 84-98; _cf._ also _A Very Woman_, II., 2, 2; _Bondman_, I.,
3, 216; _Emperor of the East_, III., 2, 54; _Guardian_, III., 1, 23;
_Parliament of Love_, I., 4, 23; _Believe as You List_, V., 1, 69;
_Unnatural Combat_, IV., 1, 131 and 231.
287 III., 1, 12-16.
_ 288 Cf._ also _Bondman_, II., 2, 36; IV., 4, 22; _Bashful Lover_, V.,
1, 72-156; _Emperor of the East_, IV., 3, 39; _Duke of Milan_, IV.,
3, 97; _Unnatural Combat_, IV., 1, 199; _Parliament of Love_, V., 1,
526-7; _Guardian_, I., 1, 13; II., 5, 56; _Picture_, III., 4, 21.
_ 289 New Way_, II., 2, 17-22; _Picture_, IV., 2, 26-33.
_ 290 Picture_, I., 2, 30; IV., 2, 79; _Bondman_, I., 2, 36; IV., 2, 44;
IV., 4, 21; _A New Way_, II., 2, 20; IV., 2, 99; _Emperor of the
East_, I., 2, 223; _Parliament of Love_, IV., 1, 49; _Guardian_, I.,
1, 297.
291 III., 1, 26; III., 1, 32.
_ 292 Cf._ _New Way_ and _City Madam_, _passim_.
_ 293 Cf._ Churton Collins’ _Studies in Shakspere: No. V._, “Was
Shakspere a lawyer?” Mr. Arthur Underhill, in _Shakspere’s England_,
Vol. i, No. xiii., decides that Shakspere’s “knowledge of law was
neither profound nor accurate.”
_ 294 A Very Woman_, II., 2, 60-64. It is to be noted that doctors are
common also in Fletcher, the reason being that there are so many
duels, and unexpected recoveries, in that author. Thus, the surgeon
diets the Duke of Sesse in _The Double Marriage_ (II., 4); and in
the same play the doctor plays tricks on Castruccio’s food (V., 1).
In _The Sea Voyage_ (III., 1) the surgeon is introduced merely to
make fun of his apparatus. Doctors, chirurgeons, and apothecaries
appear in fifteen of the plays of Beaumont and Fletcher. The same
remark applies to Webster; _cf._ _The Duchess of Malfi_, _The White
Devil_, and especially _The Devil’s Law-case_.
_ 295 Henry VIII_, I., 1, 75; I., 2, 42; III., 2, 171.
296 II., 3, 42 and 72; III., 2, 305, 307, 353.
297 II., 3, 93.
298 III., 2, 37; _cf._ III., 4, 69. Beaumont observes a similar
strictness.
_ 299 E.g._, I., 1; III., 2.
_ 300 E.g._, III., 2, 336; IV., 2, 73; V., 4, 172.
301 II., 1, 88-94.
302 II., 2, 143.
303 III., 2, 297-8.
304 III., 2, 365.
_ 305 E.g._, I., 1, 39-44; II., 3, 13-16, 18-22, 32; II., 4, 70-73, 78,
79, 129, 130; IV., 1, 56-59; V., 1, 2-5, 11-16, 36; V., 3, 1012,
20-31, 43-45.
306 IV., 2, 45.
307 V., 3, 10.
308 II., 4, 238.
309 III., 2, 447.
310 IV., 1, 103.
_ 311 Cf._ II., 3, 77; III., 2, 50—both instances of the method of
anticipation referred to above.
312 II., 1, 88.
313 III., 2, 393.
314 IV., 2, 125.
315 Thus Gardiner’s dislike of Anne Boleyn (V., 1, 22) is true to
history, though artistically a blemish on the play, because
redundant.
The way in which in IV., 1, and elsewhere, historical details are
dragged in is quite unlike Massinger, and very like Shakspere. _Cf._
lines 17-19, 24-29, 38-42, 47-49, 51, 52, 101-103.
_ 316 New Shakspere Society’s Transactions_, 1880-86, xxi.
317 See Discussion on January 16th, 1885.
_ 318 Ibid._, p. 447.
319 For other instances see II., 4, 208; III., 2, 39-42, 55-56, 96, 159;
V., 1, 22-3, 36, 109-11; V., 3, 43-45.
320 The same remark applies to V., 3, 8.
321 Compare such a line as V., 3, 94.
322 See p. 87, n. 4.
323 For “catalogue lines,” _cf._ I., 2, 33; II., 1. 116; II., 3, 29;
III., 2, 342; V., 5, 48. For assonances, _cf._ I., 3, 25, 27, 31,
35, 41; II., 1, 126; II., 2, 28, 48; II., 3, 86; II., 4, 92; III.,
2, 125, 129, 213, 214, 236, 255, 259; V., 2, 32; V., 3, 23, 60, 72,
103; V., 4, 94; V., 5, 30. For repetitions of words, _cf._ III., 1,
110; III., 2, 29; V., 1, 98, 138. Passages which remind us of
Massinger are I., 4, 101; II., 3, 93; V., 1, 62, 70, and 71;
Epilogue, 5.
324 V., 1, 1-7.
_ 325 Modern Language Review_, April, 1916.
326 I., 1, 124. My numeration in _The Two Noble Kinsmen_ is Mr. Tucker
Brooke’s.
327 III., 2, 14.
_ 328 Op. cit._, p. 143.
_ 329 The Two Noble Kinsmen_, I., 3, 8.
330 V., 1, 161.
331 II., 1 reads to me like Shakspere.
332 A Danish scholar, Dr. Bierfreund, maintains this thesis (Tucker
Brooke, Introd., p. xlv).
333 II., 3; III., 5.
334 This is perhaps what Mr. Bullen believes about the play.
_ 335 The Shakespeare Apocrypha._
336 I., 1, 209.
337 III., 1, 74.
_ 338 H. E. L._, iv., p. 361.
_ 339 New Shakspere Society’s Transactions_, 1880-5, pt. 2, xviii.
340 Page 372.
341 Page 373.
342 Pages 375-6.
343 Page 381.
344 I., 1, 76.
_ 345 E.g._, _Roman Actor_, I., 4, 41; _Picture_, II., 2, 112; _Bondman_,
I., 1, 13. _Cf._ _Tamburlaine_, pt. II., III., 2; _Orlando Furioso_,
V., 2.
_ 346 Macbeth_, I., 1, 54.
347 Page 387.
348 Page 393.
349 Page 393.
350 Page 394.
351 I., 3, 76.
352 II., 4, 134.
353 Notice in passing that Beaumont is fond of using intransitive verbs
transitively. He also has the phrase “twinning cherries.”
354 I., 1, 195-206.
355 I., 1, 209-213.
356 Page 395.
357 I., 2.
358 Page 397.
359 Pages 380-391.
360 I., 1, 165; V., 1, 160. Shakspere has “the wheaten garland” of
peace in _Hamlet_, V., 2, 41.
_ 361 Bashful Lover_, I., 1, 279; IV., 3, 164; _Maid of Honour_, I., 2,
116.
362 I., 1, 82.
_ 363 Picture_, III., 4, 61.
364 I., 1, 141. The exact phrase occurs in _Merchant of Venice_, II., 1,
44. “The temple” is part of Fletcher’s stock-in-trade.
_ 365 Maid of Honour_, V., 2, 45; _Picture_, I., 2, 306.
366 II., 1, 13.
367 I., 1, 77.
_ 368 Twelfth Night_, III., 4, 349.
_ 369 Renegado_, III., 3, 78; _New Way_, V., 1, 27.
370 1., 2, 47, 48.
371 I., 2, 275-278.
372 I., 3, 91.
373 IV., 2, 50.
374 II., 1,66. _Cf._ Margaret in _Friar Bacon and Friar Bungay_, I., 3,
_ad finem_.
375 II., 3, 151.
376 III., 1, 10.
377 I., 1, 49. _Cf. Bashful Lover_, I., 1, 54; III., 3, 132.
378 I., 1, 178-181.
379 V., 2, 51. _Cf._ also _Unnatural Combat_, III., 2, 157; _Duke of
Milan_, V., 2, 82; _Bondman_, IV., 2, 75; _City Madam_, V., 3, 108;
_Guardian_, I., 1, 191. In these last instances marriage is not
referred to, nor is the word “despatched” used.
380 V., 1, 106.
381 II., 1, 128.
_ 382 Picture_, II., 2, 159, 163; _Unnatural Combat_, I., 1, 4; III., 2,
70; IV., 1, 103; _Great Duke of Florence_, I., 2, 75 and 155; II.,
1, 186; IV., 2, 88; V., 3, 40; _Guardian_, I., 2, 142; II., 3, 47;
III., 5, 34: IV., 1, 86; _Maid of Honour_, I., 1, 175; III., 3, 214,
221 and 234; _Duke of Milan_, I., 3, 30; _Parliament of Love_, II.,
2, 23; III., 3, 150; _A Very Woman_, II., 2, 28; IV., 3, 99;
_Bashful Lover_, III., 3, 68; _New Way_, I., 1, 31; III., 1, 17;
III., 2, 49; _Virgin Martyr_, I., 1, 321; _Fatal Dowry_, I., 1, 85;
II., 2, 107 and 313; _Emperor of the East_, Prol., 2, 14; II., 1,
324; _Bondman_, I., 3, 290; _Renegado_, II., 1, 66. It is true that
blushing plays a great part in all our old dramatists. Compare in
Fletcher, _False One_, II., 3, _ad finem_; II., 6, 22; Leandro, in
_The Spanish Curate_, I., 1; and in Shakspere, _Henry V_, V., 2,
253; _Much Ado_, IV., 1, 35, 160-163; _Antony and Cleopatra_, I., 1,
29; V., 2,149. _Cf._ also _Eastward Ho_, I., 1. “Give me a little
box on the ear, that I may seem to blush”; II., 1. “As I am a lady,
if he did not make me blush so that mine eyes stood awater.” _Every
Man in his Humour_, V., 1. “Nay, Mistress Bridget, blush not.” _The
Devil is an Ass_, I., 3; _Friar Bacon and Friar Bungay_, I., 2;
_James IV._, III., 3.
_ 383 Guardian_, III., 6, 55; IV., 2, 52; _Old Law_, III., 1, 272;
_Emperor of the East_, IV., 5, 202.
_ 384 Picture_, I., 1, 43; II., 1, 71-75; _Maid of Honour_, I., 1, 157;
II., 2, 119; V., 2, 267-270: _Unnatural Combat_, II., 1, 135 and
220: II., 3. 29; _Bondman_, III., 3, 98-102; III., 4, 65;
_Renegado_, II., 1, 31-34; IV., 1, 147; V., 3, 76-81; _Guardian_,
III., 1, 8-10 and 42: III., 6, 6; IV., 1, 13 and 21; _Emperor of the
East_, IV., 1, 59; IV., 3, 22; V., 3, 137; _New Way_, III., 2, 220;
IV., 3, 4; _A Very Woman_, V., 3, 21; _Bashful Lover_, V., 2, 12;
V., 3, 146; _Duke of Milan_, II., 1, 420: _Believe as You List_, I.,
1, 117; IV., 3, 27.
_ 385 Picture_, II., 2, 336:
HONORIA. I am full of thoughts,
And something there is here I must give form to,
Though yet an embryon.
_Bondman_, I., 3, 315; II., 1, 74-77; V., 2, 103; _Renegado_, III.,
3, 97; _The Virgin Martyr_, III., 2, 98; _Guardian_, II., 3, 140;
_Emperor of the East_, V., 1, 129; _Bashful Lover_, IV., 1, 200;
_Roman Actor_, IV., 2, 105. _Cf._ also _Emperor of the East_, III.,
3, 13; _Thierry and Theodoret_, I., 2.
It is a touch which goes back to Ovid’s _Metamorphoses_, vi. 619:
“Magnum quodcumque paravi: quid sit, adhuc dubito.”
_ 386 Believe as You List_, V., 1, 129; V., 2, 143; _Picture_, I., 2,
127-129 and 152-153; III., 6, 34; IV., 1, 104; IV., 4, 16; V., 3,
48; _Maid of Honour_, V., 1, 20; _Roman Actor_, I., 2, 14; _Great
Duke of Florence_, II., 1, 44; IV., 1, 38; _Bondman_, III., 2, 59;
III., 3, 26; _Parliament of Love_, II., 3, 82; _Emperor of the
East_, I., 1, 95; I., 2, 148; II., 1, 158 and 334; _New Way_, II.,
2, 84; _Bashful Lover_, V., 1, 39; _City Madam_, III., 1, 67. _Cf._
also _Duke of Milan_, IV., 1, 46; _Renegado_, III., 3, 79; IV., 2,
104. Hortensio “kisses the ground” in _Bashful Lover_, III., 3, 124.
This may merely mean to kneel (_cf. ibid._, IV., 1, 168, and
_Thierry and Theodoret_, II., 3); but _cf. Roman Actor_, III., 2,
193.
_ 387 Old Law_, I., 1, 565;_ Believe as You List_, IV., 2, 58-60, 90-92;
_Guardian_, II., 4, 11-13; _Bashful Lover_, II., 6, 13; _Maid of
Honour_, II., 4, 18; IV., 3, 127; _A Very Woman_, II., 1, 71; IV.,
2, 151. Donusa, the Turkish princess, recommends it in _The
Renegado_, III., 2, 83. _Cf._ also _Duke of Milan_, I., 3, 210-212.
_ 388 Guardian_, II., 1, 79-85; _A Very Woman_, V., 6, 40-54. Fletcher is
full of duels; thus the plot of _The Little French Lawyer_ in
largely concerned with a duel. In _Love’s Progress_ we have a duel
in which the seconds fight; they want to do so in _The Honest Man’s
Fortune_. In _Love’s Cure_, V., 3, a duel with seconds is commanded
by the State. The illegality of duels is referred to in _The Maid’s
Tragedy_, V., 4.
389 It is true that this use is not confined to Massinger, being a
common idiom of the day. I quote the passages where the word is not
used in a religious sense: _Maid of Honour_, IV., 3, 81; _Unnatural
Combat_, I., 1, 356; _City Madam_, I., 3, 126; V., 3, 135;
_Guardian_, I., 1, 176; _New Way_, IV., 1, 154. For Webster’s
similar use of the word _cf. The Duchess of Malfi_, p. 61_a_; _The
White Devil_, pp. 29_b_ and 47_a_.
_ 390 Maid of Honour_, III., 3, 142; _Roman Actor_, I., 1. 87; II., 1,
186; IV., 2, 85; _Great Duke of Florence_, I., 1, 135; III., 1, 14;
V., 3, 10; _Fatal Dowry_, V., 2, 187; _Parliament of Love_, IV., 1,
8; IV., 4, 18; _Guardian_, II., 1, 53; III., 4, 6; _A Very Woman_,
II., 2, 60; _Picture_, I., 3, 176; II., 2, 158, 307; V., 3, 47;
_Duke of Milan_, I., 1, 74; III., 1, 221; V., 4, 18; _Emperor of the
East_, II., 1, 73, 147; III., 1, 28; III., 2, 82; V., 3, 189;
_Renegado_, I., 2, 78; II., 4, 95. _Cf._ also _Beggar’s Bush_, V.,
2. Ford uses “royal magnificence” in the same way in _Perkin
Warbeck_ (II., 1). In Ben Jonson’s _Staple of News_ (IV., 1) we find
“very communicative and liberal, and began to be magnificent.” In
Greene’s _James IV_, I., 1:
Your mightiness is so magnificent,
You cannot choose but cast some gift apart.
The word “munificent” occurs in _New Way_, IV., 2, 109.
_ 391 Maid of Honour_, IV., 3, 100; _Unnatural Combat_, II., 3, 49;
_Renegado_, IV., 3, 42; _Parliament of Love_, II., 3, 70;
_Guardian_, V., 4, 231; _New Way_, IV., 1, 103; _Bashful Lover_, I.,
1, 217; _cf. Prophetess_, IV., 6, 57.
_ 392 Unnatural Combat_, I., 1, 251, 393; _Virgin Martyr_, III., 1, 28;
IV., 3, 62; V., 2, 52; _Renegado_, I., 1, 138; IV., 3, 159; _Believe
as You List_, II., 2, 107 and 325; V., 1, 8.
_ 393 Great Duke of Florence_, III., 1, 358; _Guardian_, II., 3, 141;
_Bashful Lover_, IV., 1, 200; _Picture_, II., 2, 337; _Believe as
You List_, I., 2, 44. _Cf. Thierry and Theodoret_, II., 3.
_ 394 Unnatural Combat_, V., 1, 37; _Parliament of Love_, V., 1, 115;
_Guardian_, IV., 1, 77; _Duke of Milan_, II., 1, 138; _Believe as
You List_, IV., 4, 30. _Cf. Cupid’s Revenge_, II., 2, _ad finem_.
_ 395 Unnatural Combat_, I., 1, 283; _Bondman_, I., 3, 23. _Cf.
Prophetess_, II., 3, 1.
_ 396 Unnatural Combat_, V., 2, 234; _Bondman_, III., 2, 17; IV., 3, 34;
_Parliament of Love_, V., 1, 221; _Guardian_, I., 1, 192; III., 6,
17; V., 2, 132; _Bashful Lover_, III., 3, 88; _Picture_, III., 4,
46; _Duke of Milan_, II., 1, 288.
_ 397 Maid of Honour_, IV., 4, 93-95; V., 1, 14; _Roman Actor_, I., 2,
64; II., 1, 198; _Duke of Milan_, I., 3, 206; V., 2, 212;
_Parliament of Love_, II., 3, 94; _Guardian_, II., 5, 59; V., 2, 52;
_Emperor of the East_, II., 1, 355; IV., 5, 106; _New Way_, III., 1,
75; _Bashful Lover_, III., 3, 33; _Picture_, I., 3, 128; III., 5,
71. _Cf. Love’s Cure_, I., 3.
_ 398 Maid of Honour_, IV., 4, 107; _Roman Actor_, IV., 1, 121;
_Parliament of Love_, III., 2, 17; _Guardian_, III., 6, 29; _Virgin
Martyr_, V., 2, 238; _Emperor of the East_, V., 3, 109; _Renegado_,
II., 5, 159; _Unnatural Combat_, V., 2, 266. _Cf. Hamlet_, II., 2,
159; _Troilus and Cressida_, I., 3, 85. _Cf._ also _Prophetess_,
II., 1; V., 2; _Spanish Curate_, I., 2; _Atheist’s Tragedy_, IV., 4;
_Honest Whore_, IV., 1; _Parliament of Bees_, char. vii.
_ 399 City Madam_, I., 2, 75; _Unnatural Combat_, I., 1, 223; II., 1,
145; V., 2, 293; _Great Duke of Florence_, II., 1, 142; III., 1, 13;
V., 3, 113; _Parliament of Love_, V., 1, 102; _Believe as You List_,
I., 1, 73; I., 2, 147; II., 1, 65; III., 3, 143; _Bondman_, III., 2,
1; III., 3, 162; IV., 3, 6; V., 3, 156; _Renegado_, III., 5, 44;
_Picture_, I., 1, 79; II., 2, 130 and 155; IV., 1, 65; _Guardian_,
III., 6, 31; _Emperor of the East_, III., 4, 55; V., 3, 105; _A Very
Woman_, IV., 3, 210; _Bashful Lover_, II., 6, 19, and 50; IV., 2,
58; _Roman Actor_, II., 1, 178; III., 2, 116; V., 2, 67; _Duke of
Milan_, I., 1, 49; I., 3, 374; II., 1, 411; V., 2, 117.
_ 400 Roman Actor_, III., 2, 94; _Bondman_, V., 3, 144; _Parliament of
Love_, II., 2, 70. Bunyan has the phrase in _The Pilgrim’s
Progress_, pt. ii.: “They saw one Fool and one Want-Wit washing of
an Ethiopian with intention to make him white, but the more they
washed him, the blacker he was.” Warner, in his translation of _The
Menaechmi_ (1595), line 247, has “This is the washing of a
Blackamore.” The expression goes back to Lucian _adv. Indoct._, 28,
Αἰθίοπα σμήχειν. It occurs in _Love’s Cure_, II., 2.
_ 401 New Way_, V., I, 349.
_ 402 Emperor of the East_, IV., 5, 213.
_ 403 Bondman_, V., 3, 95. _Cf. Maid of Honour_, II., 2, 180; _The
Bashful Lover_, IV., 1, 138; V., 1, 56; _A New Way_, I., 1, 52;
III., 1, 81; _Emperor of the East_, III., 3, 25.
_ 404 The Picture_, II., 1, 123.
_ 405 A Very Woman_, I., 1, 404. _Cf._ also _Parliament of Love_, V., 1,
149. We cannot but remember poor Valentine’s prolonged but vocal
agony in Gounod’s opera.
406 II., 1, 84.
407 III., 2, 115.
408 IV., 7, 72.
409 Take as an example the death-bed scene in _The Spanish Curate_, IV.,
5.
_ 410 E. S._, VIII., 2.
411 Some idea of the way in which the two poets collaborated may be
obtained from the facts collected in Appendix III. Diderot, in a
passage quoted by Twining, in his edition of Aristotle’s _Poetics_
(p. 253), recommends collaboration: “On seroit tenté de croire qu’un
drame devrait être l’ouvrage de deux hommes de génie, l’un qui
arrangeât, et l’autre qui fit parler” (_De la Poés. Dram._, p. 288).
What Euripides thought of the arrangement will be seen in The
Andromache, lines 476-77:
τόνων θ᾽ ὕμνου συνεργάταιν δυοῖν
ἔριν Μοῦσαι φιλοῦσι κραίειν.
It is clear that the early death of Beaumont was a disaster to
Fletcher.
412 Massinger’s only attempt at burlesque—Hilario in _The
Picture_—though ludicrous, is dramatically impossible.
413 It is generally believed now that Marston wrote this play. He was an
author of surprising vigour, and a master of strong English, but his
taste is bad, and all his work lacks finish.
_ 414 D. N. B._, _s.v._
415 Dorothea’s story of the King of Egypt (_Virgin Martyr_, III., 1,
163-182) reminds us of an expedient familiar in Webster.
416 IV., 8.
_ 417 Epicoene_, IV., 2.
418 II., 3.
_ 419 The Devil is an Ass_, IV., 1. _Cf._ the light touch of Massinger
when dealing with the toilet of a lady in _A Very Woman_, I., 1,
30-59.
_ 420 Staple of News_, I., 1; III., 1—_Emperor of the East_, I., 1, 118;
III., 2, 58.
_ 421 Ibid._, I., 2—_Fatal Dowry_, II., 1, 51.
_ 422 Ibid._, II., 1—_Roman Actor_, IV., 2, 103. _Cf._ _The Alchemist_,
IV., 2.
_ 423 Ibid._, IV., 1—_passim_ in Massinger.
_ 424 Ibid._, IV., 1—_passim_ in Massinger.
_ 425 Ibid._, IV., 1—_Parliament of Love_, IV., 5, 12.
_ 426 Ibid._, IV., 1—_Renegado_, I., 1, 31.
_ 427 Ibid._, IV., 1—_New Way_, I., 2, 25. (_Cf._ also Prologue to _A
Wife for a Month_.)
428 IV., 5—_A Very Woman_, IV., 1, 155; _Believe as You List_, V., 2,
17.
429 III., 2—_Roman Actor_, I., 3, 95.
_ 430 Sejanus_, V., 7—_Roman Actor_, V., 2, 61.
431 Courthope lays far too much stress on Massinger’s imitation of the
Morality (_History of English Poetry_, vol. iv., p. 352). It only
appears in _The Virgin Martyr_.
432 There are no signs in Massinger of literary or other private
quarrels. One or two passages seem to be inspired by sarcasm
directed on the gossip of the day—_e.g._, _Duke of Milan_, III., 2,
18-55.
433 Stress is laid more than once on Massinger’s modesty in the
commendatory verses from his friends. _Cf._ Sir Thomas Jay’s verses
prefixed to _A New Way_, and Prologue to _A Very Woman_, lines 5, 6;
Prologue to _The Bashful Lover_, line 4. This feature may account
for a lack of worldly wisdom and self-assertion, which prevented him
from reaping the full fruits of the fame which he deserved as
Fletcher’s collaborator in so many plays. Gerard Langbaine, in his
_Account of the English Dramatic Poets_ (Oxford, 1691), pp. 353-60,
deals thus with Massinger: “He was extremely beloved by the poets of
that age, and there were few but what took it as an honour to club
with him in a play—witness Middleton, Rowley, Field, and Dekker, all
which join’d with him in several labours. Nay further, to shew his
excellency, the ingenious Fletcher took him in as a partner in
several plays. He was a man of much modesty and extraordinary
parts.” In _The New Year’s Gift_ to his patroness, to be found in
MS. in the library of Trinity College, Dublin, we have an indication
that Massinger was ashamed of the profession of author; we read
(lines 19-21):
Nor slight it, Madam, since what some in me
Esteem a blemish, is a gift as free
As their best fortunes.
The last lines of the poem (43-46) show the familiar combination of
modesty and independence:
What I give I am rich in, and can spare;
Nor part for hope with aught deserves my care;
He that hath little and gives nought at all
To them that have, is truly liberal.
434 There are some fine friendships in Massinger—_e.g._, Charalois and
Romont in _The Fatal Dowry_; Farnese and Uberti in _The Bashful
Lover_; Cleremond and Montrose in _The Parliament of Love_;
Antoninus and Macrinus in _The Virgin Martyr_; Pedro and Antonio in
_A Very Woman_.
_ 435 Cf._ the Prologues to _The Guardian_ and _The Emperor of the East_.
He speaks with feeling of the ungratefulness of courtiers. (_Bashful
Lover_, V., 1, 52; _Maid of Honour_, II., 2, 110.)
_ 436 Cf._ _Picture_, II., 2, 255; _Bondman_, I., 3, 300; _Unnatural
Combat_, I., 1, 404; _Bashful Lover_, I., 1, 34; _Great Duke of
Florence_, II., 1, 138; _Sir J. V. O. Barnavelt_, I., 1 (p. 215,
Bullen’s Old Plays); also the character of the Captain in _A Very
Woman_. _Cf._ _Knight of Malta_, III., 2.
437 Very significant are the words of Paulo in _A Very Woman_ (IV., 1,
153):
Who fights
With passions, and o’ercomes them is endued
With the best virtue, passive fortitude.
_Cf._ _Roman Actor_, I., 1, 118; III., 1, 113; _Duke of Milan_,
III., 1, 73; and _Renegado_, I., 1, 79:
All that I challenge
Is manly patience.
_Cf._ _Sejanus_, quoted above, p. 115, n. 11. _Queen of Corinth_,
III, 2:
EUPHANES. To shew the passive fortitude the best.
And _Lover’s Progress_, IV., 4:
ALCIDON. With all care put on
The surest armour, anvil’d in the shop
Of passive fortitude.
This point is emphasized in Swinburne’s excellent sonnet on
Massinger.
438 IV., 2, 17-31, where Charalois declares, “I never was an enemy to ’t
[_i.e._, music], Beaumont,” and ends by saying: “I love it to the
worth of ’t and no further.”
439 I., 1.
_ 440 Cf._ also V., 2, 130-37.
441 IV., 2, 1-14.
442 Massinger has some notable compound epithets from time to time; take
as examples, “pale-cheek’d stars” in _Parliament of Love_, IV., 2,
61; “on black-sail’d wings of loose and base desires,” _Parliament
of Love_, V., 1, 215; “Such is my full-sail’d confidence in her
virtue,” _Picture_, II., 2, 318; “the brass-leaved book of fate,”
_Believe as You List_, I., 2, 136.
“Your must and will
Shall in your full-sailed confidence deceive you,”
_A Very Woman_, II., 2, 21.
443 We find not a few assonances and alliterations in Massinger,
generally contained in two words: _Emperor of the East_, I., 2, 16,
“gallows and galleys”; (_Cf. Renegado_, V., 2, 162, “the gallies or
the gallows,” and Webster’s _White Devil_, p. 11a); _Believe as You
List_, Prologue 14, “toss’d and turned”; _A New Way_, I., 1, 109,
“sue and send”; _Emperor of the East_, IV., 1, 37, “sway and swing”
(so in _Great Duke of Florence_, II., 2, 46); _Fatal Dowry_, IV., 1,
193, “confessor and confounder”; _Old Law_, III., 2, 45, “die and
dye”; _ibid._, 157, “venues in Venice glasses”; IV., 1, 61, “Siren
and Hiren”; _City Madam_, I., 1, 36, “hole and hell”; V., 2, 77,
“lords or lowns”; _Guardian_, I., 1, 60, “house and home”; II., 2,
23, “board and bed”; II., 5, 46, “fair and free”; III., 5, 76, “page
or porter”; _Picture_, IV., 1, 65, “horns and horror”; _Bondman_,
II., 1, 119, “hell and horror”; _Roman Actor_, I., 4, 63, “graced
and greased”; II., 1, 376, “carke and caring”; _Renegado_, III., 4,
54, “toss and touse”; _Parliament of Love_, II., 1, 8, “tractable
and tactable”; _Duke of Milan_, III., 1, 199, “palm or privilege”;
III., 2, 46, “curvet or caper.”
_ 444 Cf._ Johnson’s Preface to Shakspere (p. 19), “A quibble is to
Shakspere what luminous vapours are to the traveller; he follows it
at all adventures; it is sure to lead him out of his way, and sure
to engulf him in the mire.” The whole paragraph is worth reading.
_ 445 A New Way_, I., 3, 22; II., 1, 31, etc. The repetition of Graccho’s
name in _Duke of Milan_, V., 1, is intentional and effective. _Cf._
Kitely’s repetition of “Thomas” in _Every Man in His Humour_, III.,
2; “Sir Michael” in _1 Henry IV_, IV., 4, and “Sir Thomas” in _Henry
VIII_, V., 1.
446 Boyle (_N. S. S._, 371-372), severe as he is on Massinger’s
characters, both male and female, agrees with this verdict. He
traces the unjust depreciation of Massinger in part to Charles
Lamb’s “unfair judgment.” “The hard fate that accompanied the ’stage
poet’ through life has clung to him up to the present time, and in
spite of warm advocates, like Gifford and Cunningham, prevented him
from occupying his legitimate position as a dramatist immediately
after Shakspere.”
447 Preface, p. lvii. of Monck Mason’s edition.
448 For another explanation, see Appendix X.
449 Alinda, the heroine of Fletcher’s _Pilgrim_, is equally
indiscriminate in her bounty (Act I., 1, 2). We may compare J.
Taylor’s _Holy Living_, Sec. VIII., Alms: “Trust not your alms to
intermedial uncertain and under-dispensers.”
450 Where did he get her name from? A lady of the name is a subordinate
character in Hroswitha’s _Gallicanus_. The plays of Hroswitha have
obvious affinities with _The Virgin Martyr_, but I cannot trace any
other indications of borrowing.
451 Brander Matthews, as a fellow-countryman of Jay Gould and
Rockefeller, is well qualified to estimate Sir Giles Overreach; he
points out that he is an instance of what the French call, “l’homme
fort.” The part has been taken by many of our great actors, notably
Garrick, who revived it in 1745. _Cf._ W. Hazlitt’s _Dramatic
Essays_ for the performances of Kean and Kemble in 1816 (pp. 78-80,
91-92, 97-100). The two great actors had a different conception of
Sir Giles; and Hazlitt is very severe upon Kemble. Kean was at Drury
Lane, Kemble at Covent Garden.
_ 452 Cf._ II., 1, 81 and 88.
453 I., 1, 146.
454 III., 1, 72.
455 See the Dedication: “I ever held this the most perfect birth of my
Minerva.” It was printed in 1629. It is interesting to compare it
with _The Cardinal_, for which Shirley had a similar affection.
_ 456 Cf._ Domitian’s speech in II., 1, 160-168; and that of Rusticus in
III., 2, 59-68.
457 As, for instance, Paris’ speech in I., 1, 21-26, and Stephanos’
words in V., 1, 99-101.
458 I., 4, where the Imperial princesses push one another about in
seeking for a front place in the street as Domitian passes, is an
example of this fault. We have already referred to the difficulties
which are involved in the infliction of torture on the stage, as in
III., 2. Again, it is improbable that the actors should have been
waiting, as in IV., 1, outside the private gardens, ready to perform
the very play which suited Domitian’s purpose. We are also
disconcerted to find the ghosts in Act V., 1, stealing the bust of
Minerva. (_Cf._, however, Virgil _Æneid_, II., 294.)
459 Prologue 2, 7:
In each part,
With his best of fancy, judgment, language, art,
Fashion’d and form’d so, as might well, and may
Deserve a welcome, and no vulgar way.
_ 460 Cf._ IV., 1, 28, and IV., 5, 216.
461 I., 2.
462 The way in which the apple circulates reminds us of the Umbrana in
Beaumont’s amusing _Woman-Hater_.
463 The reference to an architect in IV., 2, 178, suggests that in the
first draft of the play Paulo had appeared in that character.
464 IV., 2.
465 III., 1.
466 III., 4.
467 IV., 3.
468 III., 2, 69.
469 IV., 1, 17.
470 IV., 3, 196; V., 3, 53.
471 V., 5, 42.
472 III., 1, 162.
473 V., 5.
474 II., 1, 35.
_ 475 Cf._ _The Virgin Martyr_, I., 1, 405 and V., 2, 4.
476 Epilogue, line 9.
477 There is too much kneeling in this play; Hortensio kneels, I., 1,
200; Matilda, III., 3, 60 and 123; Lorenzo, IV., 1, 167; Matilda
again, IV., 1, 184; Alonzo and Pisano, V., 1, 180; Matilda again,
V., 3, 101; the Ambassador, V., 3, 169.
_ 478 I.e._, the “emphatic” double ending. _Cf._ II., 4, 21; II., 6, 51;
II., 7, 69: III., 1, 114; IV., 3, 81; IV, 3, 155.
_ 479 N. S. S._, p. 393.
480 The disappointment which we feel at Camiola’s lot may be paralleled
by Bellario in _Philaster_.
_ 481 The City Madam_ was printed in 1658. Perhaps this accounts for
Colley Gibber’s statement that Massinger died in 1659. The editor of
the play, Andrew Pennycuicke, “one of the actors,” being, as the
name would seem to imply, a canny Scot, dedicated the first edition
“to the truly noble John North Esquire,” and the second, _totidem
verbis_, “to the truly noble and virtuous Lady Anne, Countess of
Oxford.” I owe this fact to the kindness of Mr. P. Simpson. It is to
be noted that both editions read “out-conquered,” whereas Cunningham
has printed “not-conquered.”
482 Hilario is Massinger’s one attempt at the Shaksperian “fool”; but
what a contrast there is between Hilario and Touchstone or Feste!
483 Dekker’s word.
484 II., 1, 20.
485 Notice the skill with which Sforza, in I., 3, works up to his
unexpected and terrible request.
486 A clever passage is that where Francisco points out that nothing
succeeds like success (IV., 1, 16-36).
487 V., 2, 256. _Cf._ IV., 2, 75:
Hold but thy nature, Duke, and be but rash,
And violent enough.
_Cf._ also I., 2, 30; I., 3, 369; III., 3, 252.
488 I., 1, 111-125.
489 III., 3.
490 II., 1, 121.
491 Though Rowe behaved badly in concealing his theft from Massinger,
the critics have been unfair to his play. It is very instructive to
compare the simple structure of _The Fair Penitent_, written on
French lines, with the larger scheme and wealth of incident in _The
Fatal Dowry_. We are reminded of the contrast between an English and
a Dutch garden. After all, some people prefer their yew-trees cut
into cocks and hens, while others do not. I can imagine a being who
would prefer Gounod’s _Romeo and Juliet_ to Shakspere’s. In _The
Fair Penitent_, the law-court scene, the father’s funeral, and the
music-master disappear. We get the “gay Lothario” from this once
popular play. Mr. Phelan (p. 60) has properly pointed out that “for
Lothario we entertain a latent regard, for his elegant and gallant
bearing,” whereas Novall, junr., “is not calculated to gain love.”
In other words, while Massinger’s moral is superior, Rowe is more
true to life. _Cf._ some interesting remarks by Hazlitt (_Dramatic
Essays_, pp. 93-95) on Rowe’s play and Miss O’Neill as Calista.
_ 492 Cf._ _Unnatural Combat_, III., 2, 144, and Fletcher, _passim_.
_ 493 Cf._ I., 1, 203.
494 Novall never meant to marry Beaumelle. _Cf._ IV., 1, 100; V., 2,
264.
495 For a discussion of the authorship of the play, see Appendix XI.
496 There is much in Act III. of _A King and No King_ which reminds us
of Malefort’s passion; but Massinger is a better moralist than the
authors of that brilliant play.
497 Beaufort senior’s words in III., 2, 32-41, should, however, be
carefully observed.
498 IV., 2, 87. _Cf._, however, Sir John Van Olden Barnavelt, III., 2.
_ 499 E.g._, Charles’s speech about Cupid, V., 1, 33-60.
500 Act V. We must allow that Cleremond and Leonora are too long-winded.
501 We may conjecture that the missing part of Act I. contained (_a_) a
scene in which “three citizens” described the situation, and the
absence of the King; (_b_) a scene of love-making between Cleremond
and Leonora, containing the incident referred to in II., 2, 93-100;
(_c_) a scene in which Beaupré obtained Chamont’s protection, and
asked for an introduction to Bellisant (_cf._ V., 1, 470). Bellisant
may also have appeared before I., 4, as her denunciations of the
gallants are referred to in II., 1, 23. And Bellisant knows in III.,
3, 145, that Clarindore had “cast off” Beaupré. Clarindore is the
sort of man who might have boasted of this.
502 V., 1, 520. Massinger did not like people who cannot keep a secret.
_Cf._ _A Very Woman_, IV., 2, 142.
503 For a fuller discussion of this play and the MS., see Appendixes
VII. and VIII.
_ 504 Poetics_, 1451_a_, 16, 1451_b_, 34.
505 Touches which remind one of Massinger occur, but they are few and
far between—_e.g._:
I., 1, 30-70, reminds us of him here and there. (The same applies to
Cleanthes’ speech, I., 1, 323-345.)
I., 1, 248: “personal opposition.” (_Cf._ _Believe as You List_,
IV., 2, 98.)
I., 1,362:
CLEANTHES. How do you fare, sir?
LEONIDES. Cleanthes, never better.
(In the _Henry VIII_ manner.)
II., 1, 41-61: The first courtier’s speech.
II., 2, 73-94: Lysander’s speech.
IV., 2, 1-130: see especially lines 3, 41, 72, 109.
V., 1, 54-82.
V., 1, 119-132: Lysander’s speech.
V., 1, 156-175.
V., 1, 232-250: Cleanthes’ speech. (Notice the parenthesis in lines
246-7.)
The play is usually assigned to 1599, on the strength of the passage
where Gnotho gets the clerk to alter the Parish Chronicle (III., 1).
Gayley thinks the mention of 1599 “purely dramatic” (_R. E. C._,
III., p. lv). He says the style is not like that of Middleton in
1599, and points out that Rowley was only fourteen years of age in
that year. “If Massinger had any share in the play, it was in
revision, after Middleton’s death in 1627.” Gayley dates the play
1614-16. It must be pointed out, however, that it is not easy to
alter 40 to 39. The author could have chosen a date whose figures
were more easy to deal with. I therefore think the usually accepted
date is right, though it does not, of course, settle the question of
authorship.
Massinger was fond of scenes in courts of justice, and it is highly
probable that he elaborated the details of Act V.
506 We find “horror” in IV., 2, 72 and 160; a certain number of the
alliterations referred to above (p. 121), I., 1, 66; II., 1, 210,
265; II., 2, 119; V., 1, 546, 550, 605, 650; and words doubled (I.,
1, 67, 88, 206, 220, 268, 354, 389; II., 1, 154, 275; II., 2, 91;
III., 1, 304, 363).
_ 507 Believe as You List_, IV., 1; _Love’s Triumph through Callipolis_;
Peele’s _Battle of Alcazar_.
508 Dodsley’s _Old Plays_, vol. x. (Hazlitt).
509 There is a good edition of _A New Way to pay Old Debts_ by K.
Deighton (G. Bell, 1893). Brander Matthews has also edited the play,
prefixing a valuable estimate of the poet.
510 V., 3, 148:
O Philanax, as thy name
Interpreted speaks thee, thou hast ever been
A lover of the King.
_ 511 Picture_, I., 1, 6.
512 III., 1, 7. _Cf._ Ben Jonson’s _Staple of News_, IV., 4 Pennyboy
junior:
Thou appears’t
κατ᾽ ἐξοχήν, a canter.
513 III., 1, 102-3.
_ 514 Emperor of the East_, II., 1, 278 and 294.
515 III., 4, 40.
516 σκάνδικά μοι δός, μητρόθεν δεδεγμένος. (l. 478).
517 II., 5, 96.
518 Telephus frag., 722:
Σπάρταν ἔλαχες, κείνην κόσμει;
τὰς δὲ Μυκήνας ἡμεῖς ἰδίᾳ.
519 V., 1, 5.
520 ὡς γραφεύς τ᾽ ἀποσταθείς.
521 IV., 5, 61.
522 ἐπὶ δὲ καρδίαν ἔδραμε κροκοβαφὴς σταγών (l. 1121).
_ 523 Cf._ _Shakspere’s England_, Vol. I., ix., “Scholarship,” by Sir J.
E. Sandys.
524 It may be noted that the end of _The Knight of Malta_ is modelled on
the last scene of the _Alcestis_. The play has been attributed in
part to Massinger, but the fact cited, though interesting, does not
prove acquaintance either on the part of Fletcher or Massinger with
Greek at first hand.
525 III., 1., 92-106.
526 IV., 2.
527 IV., 3.
528 II., 5.
529 I have not succeeded in finding the passage referred to.
530 I., 1, 47. (Chreocopia, in I., 1, 54, may be scanned with the accent
on the penultimate.)
531 I., 2, 21 and 29; III., 2, 110. Eudocia in _The Emperor of the East_
is more doubtful. _Cf._ IV., 5, 83; V., 1, 122; V., 2, 105; V., 3,
170.
532 Notice that in all these false quantities the stress is laid on the
syllable which bears the Greek accent; that is to say, the words are
scanned as a Byzantine Greek of the time would have pronounced them.
_Cf._ in Marlowe’s _Tamburlaine_, Pt. II., IV., 4: “As in the
theoria of the world.” A similar suggestion is anonymously made in
_The Times Literary Supplement_, March 20th, 1919, for another line
of Marlowe: “Our Pythagôras’ Metempsýchosis.”
“Academy,” in _The Emperor of the East_, I., 1, 45, seems accented
on the last syllable.
_ 533 Cf._ p. 19, n. 2.
534 Boyle’s ascription is in each case printed first; M. signifies the
portions of each play which he allots to Massinger. A. H. B. = Mr.
Bullen, A. H. C. = the writer. Macaulay’s views will be found in
_The Cambridge History of English Literature_, vol. vi., Appendix to