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If the multiplicity of editions may be considered the criterion of public opinion, Faustus ranked considerably above this play, in the estimation of our ancestors; it was called for early, and went through five editions before 1663; whereas Lust's Dominion was not published till 1657, upwards of sixty years after the decease of its author. In particular passages, and some whole scenes, Faustus has great beauties; but it must have been principally indebted for its success, to the superstitious ignorance of the times; Lust's Dominion is a much better play: it was altered by Mrs. Behn, and performed at the Duke of York's Theatre in 1671, under the title of Abdelazar; and probably furnished hints for the admirable tragedy of The Revenge. But, notwithstanding the luxuriance of imagery in the first scenes, the exquisite delicacy of the language that is throughout given to Maria, and the great beauty of parts, “it has too much of King Cambyses’ vein; rape, and murder, and superlatives;” and if the stage be intended as a portraiture of real character, such representations tend only to excite a disgust and abhorrence of human nature : with the exception of the innocent Maria, the fiery Philip, Isabella, Alvero, and Hortenzo, there is not one with whom our feelings hold communion. The open representation of the devil in Faustus is less offensive than the introduction of him here in the garb of a Moor: but the philantropy of our ancestors was not shocked at any representation of an African or an Israelite.

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I) RAMATIS PERSONAE.

Eleazar, the Moor, Prince of Fesse and Barbary.

Philip, King of Spain; Father to Fernando, Philip, and Isabella.

Fernando, King of Spain, } Sons to Philip. Philip, Prince of Spain, Alvero, a Nobleman, and Father-in-Law to Eleazar, and Father

... to Hortenzo and Maria.

Mendoza, the Cardinal.

Christofero,

Roderigo,

- o, Lover to Isabella, and Son to Alvero. 2^

Zarack, }two Moors attending Eleazar.
Baltazar,

o: } two Friars. -
Emmanuel, King of Portugal.
Captain, Soldiers, cum aliis.

Two Pages attending the Queen.

} two Noblemen of Spain.

The Queen Mother of Spain, and Wife to King Philip. 2. Isabella, the Infanta of Spain.

/Maria, Wife to Eleazar, and Daughter to Alvero.
/ -
/

The Scene, Spain.

LU ST'S DOMINION:

or, the

LASCIVIOUS QUEEN.

ACT. I. SCENE I.

Enter ZARAck, BALTAzAR, two Moors, taking Tobacco; Music sounding within : enter QUEEN MoTHER or SPAIN with two PAGEs: ELEAzAR, sitting on a Chair, suddenly draws the Curtain".

Eleaz. ON me does music spend this sound ! On me, That hate all unity! ah! Zarack, Baltazar ! Qu. Mo. My gracious lord. Eleaz. Are you there with your beagles' hark, you slaves | Did not I bind you on your lives to watch, That none disturb’d us? Qu. Mo. Gentle Eleazar. Eleaz. There, off: is't you that deaf me with

this noise? [Eveunt two Moors. Qu. Mo. Why is my love's aspect so grim and horrid?

Look smoothly on me;
Chime out your softest strains of harmony,

* The curtains, in front of the old theatres, divided in the middle, and was drawn to the sides: but it may save further explanation to add here, that, “beside the principal curtain

they sometimes used others as substitutes for scenes.” MALONE.

And on delicious music's silken wings
Send ravishing delight to my love's ears,

That he may be enamoured of your tunes.
Come, let's kiss. -

Eleaz. Away, away ! Qu. Mo. No, no, says aye; and twice away, says stay: ^- Come, come, I’ll have a kiss; but, if you strive, For one denial, you shall forfeit five. Eleaz. Nay, prithee, good queen, leave me; I am now sick, heavy, and dull as lead. Qu. Mo. I'll make thee lighter by taking something from thee.

Eleaz. Do: take from me this ague, and these fits;

That, hanging on me,
Shake me in pieces, and set all my blood
A boiling with the fire of rage; away, away!
Thou believ'st I jest,
And laugh'st to see my wrath wear antic shapes:
Begome, begone!

Qu. Mo. What means my love?
Burst all those wires; burn all those instruments;
For they displease my Moor. Art thou now
- pleas'd? -
Or wert thou now disturb’d? I'll wage all Spain,
To one sweet kiss, this is some new device
To make me fond and long. Oh you men
Have tricks to make poor women die for you.

Eleaz. What, die for me? away !

Qu. Mo. Away, what way? I prithee speak

more kindly : Why dost thou frown? at whom? Eleaz. At thee. ** .

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