The Project Gutenberg ebook of The Works of John Marston, Vol. 3, edited by A. H. Bullen.

[182] Not marked in old eds.

[183] Omitted in ed. 1631.

[184] Seemingly, here, a sort of apron.—The word is used in a variety of senses: see Nares’ Glossary.

[185] Properly a military expression, meaning—fear no enemy.

[186] Used with a quibble: (1) reason, (2) raisin.

[187] Old eds. “Count of Arsena;” and so below “to Isabella, Gvido Count of Arsena.”—It was Guido who prepared the masque (see p. 149), and he ought certainly to be one of the masquers; but if we suppose that he is the masquer with whom Isabella falls in love, we are involved at once in wild confusion. Throughout this scene the prefixes are constantly wrong. The masquer who is now called Guido is frequently transformed into Rogero: see p. 157, “The second change, Isabella fals in loue with Rogero” and what follows. Later in the scene Isabella sends her waiting-woman Anna to discover the unknown masquer’s name; and Anna returns with the announcement, “Madam, it was the worthy Count Massino.” In the third scene she sends her page to summon the stranger to her presence. When the page returns with him, the stage-direction is “Enter Count Arsena and a Page.” She flies with her paramour, and the first man to proffer his advice to Roberto is this same Guido, Count of Arsena, who—according to the old copies—is flying with the Countess to Pavia! In iii. 11 the stage-direction is “Enter Count Guido, Isabella,” &c., and presently Isabella addresses her paramour as Rogero. Isabella pretends that she is sick and Guido goes to fetch a doctor: when he returns the stage direction is “Enter Rogero, Anna, and Doctor.” So the changes are rung through several scenes. In iv. 3 Isabella speaks of—
“False Count Guido, treacherous Gniaca,
Counties of Gazia and of rich Massino.”

Gniaca is the Count of Gazia [Gaeta?], and it follows that Guido would be the name of the Count of Massino [Messina?]. But Guido is the Count of Arsena; and it will be intolerable to have another Guido. Throughout I shall give the name Massino to the paramour who elopes with the Countess, and shall prefix “Mass.” to his speeches. Count Arsena will have to be excluded from the masque. It is no fault of mine; the author (or authors) and the old printer must bear the blame.

[188] Old eds. “Claridiana, to Abigal; to Isabella, Gvido Count of Arsena; to Thais, Rogero.”

[189] Ed. 1631 “I must.”

[190] i.e., motto.

[191] Shakespeare has a more elaborate quibble:—“And then comes repentance, and with his bad legs falls into the cinque-pace faster and faster till he sink into his grave.”—Much Ado, ii. 1. Cinque-pace was the name of a lively dance.

[192] Old eds. “Thais.”

[193] Old eds. “Abig. ”

[194] Old eds. “Rogero.”

[195] Old eds. “when the changers speak.”

[196] To this speech and Rogero’s five following speeches the prefix “Men. ” is given in the old copies.

[197] Omitted in ed. 1631.

[198] Ed. 1631 “Mucaue.”

[199] Old eds. “Robert” and “Rob.”

[200] Ed. 1631 “love’s.”

[201] Old eds. “Gui.”

[202] Old eds. “Rogero.”

[203] Omitted in ed. 1631.

[204] Old eds. “Candidi Ernigos” and “Erignos.”

[205] To Massino’s speeches old eds. give the prefix “Rog. ”

[206] Old eds. give the prefix “Men. ” here and at l. 184.

[207] Old eds. “Mend.”

[208] Old eds. “Rogero.”

[209] Old eds. “Ile.”

[210] So ed. 1613.—Ed. 1631 “to supreme.”

[211] Omitted in ed. 1631.

[212] Old eds. “smiles.”

[213] Quy. “choice”?

[214] Old eds. “Sweuia.”

Abi. Thais, you’re an early riser. I have that to show will make your hair stand an-end.[215]

Tha. Well, lady, and I have that to show you will bring your courage down. What would you say and I would name a party saw your husband court, kiss, nay, almost go through for the hole?

Tha. I ever thought by his red beard he would prove a Judas;[219] here am I bought and sold; he makes much of me indeed. Well, wench, we were best wisely in time seek for prevention; I should be loath to take drink and die on ’t, as I am afraid I shall, that he will lie with thee.

Abi. To be short, sweetheart, I’ll be true to thee, though a liar to my husband. I have signed your husband’s bill like a woodcock, as he is held; persuaded him (since naught but my love can assuage his violent passions) he should enjoy, like a private friend, the pleasures of my bed. I told him my husband was to go to Maurano to-day, to renew a farm he has; and in the meantime he might be tenant at will to use mine. This false fire has so took with him, that he’s ravish’d afore he come. I have had stones on him all red. Dost know this?

Abi. Now my husband will be hawking about thee anon, and thou canst meet him closely.

Abi. I mean thus: the same occasion will serve him too; they are birds of a feather, and will fly together, I warrant thee, wench; appoint him to come; say that thy husband’s gone for Maurano, and tell me anon if thou madest not his heart-blood spring for joy in his face. 62

Rog.[222] Now ’gins my vengeance mount high in my lust:
’Tis a rare creature, she’ll do ’t i’faith;
And I am arm’d at all points. A rare whiblin,[223]
To be revenged, and yet gain pleasure in ’t,
One height above revenge! Yet what a slave am I!
Are there not younger brothers enough, but we must
Branch one another? O but mine’s revenge! 110
And who on that does dream
Must be a tyrant ever in extreme.—
O my wife Thais, get my breakfast ready;
I must into the country to my farm I have
Some two miles off, and, as I think,
Shall not come home to-night. Jaques, Jaques?
Get my vessel ready to row me down the river.
Prithee make haste, sweet girl.

Tha. So, there’s one fool shipp’d away. Are your cross-points discovered? Get your breakfast ready! 120
By this light I’ll tie you to hard fare; I have been too sparing of that you prodigally offer voluntary to another: well, you will be a tame fool hereafter,
The finest light is when we first defraud;
Husband, to-night ’tis I must lie abroad.

[215] “And each particular hair to stand an-end.”—Hamlet, i. 4.

[216] Ed. 1631 “a whore.”

[217] “The shaking of the sheets” was the name of an old dance. It is often used with a quibble (as in the text).

[218] I follow the reading of the old copies.

[219] In tapestry Judas was commonly represented with a red beard.

[220] Puke, simper.

[221] Old eds. “Mizaldus.”

[222] Old eds. “Miz. ”

[223] This word is used in a variety of senses: see Nares’ Gloss. Here the meaning seems to be “device, trick.” We have had the word “quiblin” in this sense: see p. 60.

[224] Old eds. “Mizal.”

Isa. Here, take this letter, bear it to the count.
But, boy, first tell, think’st thou I am in love?

Isa. Canst thou not tell? Dost thou not see my face?
Is not the face the index of the mind?
And canst thou not distinguish love by that?

Isa. Then take this letter and deliver it
Unto the worthy count. No, fie upon him!
Come back: tell me, why shouldst thou think 10
That same’s a love-letter?

Isa. Why dost thou come again? I bade thee go.
If I say go, never return again.

My blood, like to a troubled ocean,
Cuff’d with the winds, incertain where to rest,
Butts at the utmost shore [226] of every limb!
My husband’s not the man I would have had.
O my new thoughts to this brave sprightly lord
Was fix’d to [by?] that hid fire lovers feel!
Where was my mind before—that refined judgment
That represents rare objects to our passions?
Or did my lust beguile me of my sense, 50
Making me feast upon such dangerous cates,
For present want, that needs must breed a surfeit?
How was I shipwrack’d? Yet, Isabella, think;
Thy husband is a noble gentleman,
Young, wise, and rich; think what fate follows thee,
And naught but lust doth blind thy worthy love.
I will desist. O no, it may not be.
Even as a headstrong courser bears away
His rider, vainly striving him to stay;
Or as a sudden gale thrusts into sea 60
The haven-touching bark, now near the lea,
So wavering Cupid brings me back amain,[227]
And purple Love resumes his darts again:
Here of themselves, thy shafts come as if shot,
Better than I thy quiver knows ’em not.

Mass.[229] So fell the Trojan wanderer on the Greek,
And bore away his ravish’d prize to Troy.
For such a beauty, brighter than his Danae,[230]
Jove should (methinks) now come himself again. 70
Lovely Isabella, I confess me mortal—
Not worthy to serve thee in thought, I swear;
Yet shall not this same overflow of favour
Diminish my vow’d duty to your beauty.

Isa. Your love, my lord, I blushingly proclaim it,
Hath power to draw me through a wilderness,
Were ’t armed with furies, as with furious beasts.
Boy, bid our train be ready; we’ll to horse.

My lord, I should say something, but I blush;
Courting is not befitting to our sex. 80

Mass. I’ll teach you how to woo. Say you have loved me long,
And tell me that a woman’s feeble tongue
Was never tuned unto a wooing-string;
Yet for my sake you will forget your sex,
And court my love with strain’d immodesty:
Then bid me make you happy with a kiss.

Isa. Sir, though women do not woo, yet for your sake
I am content to leave that civil custom,
And pray you kiss me.

Mass. Why, in this kiss I show ’t, and in my vowed service
This wooing shall suffice: ’tis easier far
To make the current of a silver brook
Convert his flowing backward to his spring
Than turn a woman wooer. There’s no cause
Can turn the settled course of Nature’s laws.

Mass. The letter gives direction here for Pavy.
To horse, to horse! Thus on Eurydice,[232]
With looks regardiant [sic], did the Thracian gaze,
And lost his gift while he desired the sight:
But wiser I, led by more powerful charm,
I’d see the world win thee from out mine arm.

[225] Ed. 1631 “plots.”

[226] Old eds. “share.”

[227] Old eds. “againe.”

[228] Old eds. “Arsena.”

[229] The prefix to Massino’s speeches in old eds. is “Rog.”

[230] Old eds. “Dana.”

[231] Old. eds. “vmbages.” The word ambages (= roundabout statements) is not uncommon. Cf. Spanish Tragedy:—
“Tush, tush, my lord, let go these ambages,
And in plain terms acquaint me with your love.”
—Hazlitt’s Dodsley, v. 30.

[232] Old eds. “once Eridace” (and “Fridace”).

Rob. The gods send her remorse,[235] a poor old age,
Eternal woe, and sickness’ lasting rage!