Here louely boies, what death forbids my life, 4555 Your soul giues essence to our wretched subiects, Cel. Your paines do pierce our soules, no hope suruiues, For by your life we entertaine our liues. 4560 Tam. But sons, this subiect not of force enough, To hold the fiery spirit it containes, Must part, imparting his impressions, By equall portions into both your breasts: 4565 First take my Scourge and my imperiall Crowne, 4570 That I may see thee crown'd before I die. Help me (my Lords) to make my last remooue. Ther. A woful change my Lord, that daunts our thoughts, More than the ruine of our proper soules. 4575 Tam. Sit vp my sonne, let me see how well Thou wilt become thy fathers maiestie. They crowne him. Ami. With what a flinty bosome should I ioy The breath of life, and burthen of my soule, If not resolu'd into resolued paines, My bodies mortified lineaments 4580 O father, if the vnrelenting eares Of death and hell be shut against my praiers, 4585 And that the spightfull influence of heauen How should I step or stir my hatefull feete, 4561 subiect] substance 4557 subiects] substance conj. Coll. conj. Coll. 4564 into] v to 1606, Rob. 4576 let] and let Rob. etc. 4583 Piec'd conj. Coll. Nor bar thy mind that magnanimitie, Leading a life that onely striues to die, And plead in vaine, vnpleasing souerainty. Tam. Let not thy loue exceed thyne honor sonne, That nobly must admit necessity: 4590 Sit vp my boy, and with those silken raines, 4595 Bridle the steeled stomackes of those Iades. Ther. My Lord, you must obey his maiesty, Since Fate commands, and proud necessity. Amy. Heauens witnes me, with what a broken hart And damned spirit I ascend this seat, 4600 And send my soule before my father die, His anguish and his burning agony. Tam. Now fetch the hearse of faire Zenocrate, Let it be plac'd by this my fatall chaire, And serue as parcell of my funerall. 4605 Cas. Then feeles your maiesty no soueraigne ease, Nor may our hearts all drown'd in teares of blood, Ioy any hope of your recouery? Tamb. Casane no, the Monarke of the earth, And eielesse Monster that torments my soule, 4610 Cannot behold the teares ye shed for me, And therefore stil augments his cruelty. Tech. Then let some God oppose his holy power, Against the wrath and tyranny of death, That his teare-thyrsty and vnquenched hate 4615 May be vpon himselfe reuerberate. They bring in the hearse. Tam. Now eies, inioy your latest benefite, And when my soule hath vertue of your sight, Pierce through the coffin and the sheet of gold, And glut your longings with a heauen of ioy. 4620 So, raigne my sonne, scourge and controlle those slaues When wandring Phabes Iuory cheeks were scortcht 4595 those] these 1606, Rob. to Cunn. 4625 4596 those] these 1606, 4625 Phœbus 4624 Clymenes] Clymeus 1590, 1606 As pure and fiery as Phyteus beames, 4630 The nature of these proud rebelling Iades Wil take occasion by the slenderest haire, And draw thee peecemeale like Hyppolitus, Through rocks more steepe and sharp than Caspian cliftes. The nature of thy chariot wil not beare 4635 A guide of baser temper than my selfe, More then heauens coach, the pride of Phaeton 4633 thee] mee 1606 conj. Coll. FINIS 4640 4645 4634 cliftes] cliffs Dyce to Bull.: clefts v. iii. 4630-4646 DOCTOR FAUSTUS Date. The position of Doctor Faustus as the immediate. successor of Tamburlaine in the series of Marlowe's works is well established by the testimony of metre and dramatic structure. External evidence verifies the conclusions of literary criticism and points with tolerable certainty to the winter of 1588/9 as the date of the play's completion. The allusions to the fiery keele at Antwarpes bridge (1. 124) and to the Duke of Parma as oppressor of the Netherlands (1. 121) determine the extreme limits of composition-1585 and 1590 respectively. A more exact terminus a quo is furnished by the date of the second part of Tamburlaine, which belongs almost certainly to 1588, and presumably to the earlier part of the year. On the other hand, it is probable from what we know of the procedure of ballad writers of the time that the 'ballad of the life and deathe of Doctor Ffaustus the great Cungerer', which was licensed on the last day of February, 1588/9 was inspired by the successful production of the play, and it is practically certain that the latter must have been acted before November 6, 1589, when the company which produced it had been silenced by the Lord Mayor on complaint of the Master of the Revels.1 Stage history and early editions. Henslowe's Diary mentions twenty-four performances of Doctor Faustus by the Lord Admiral's Company between September 30, 1594, and January 5, 1596/7. In October, 1597, it was produced once again by the Lord Admiral's and Lord Pembroke's players in conjunction, this time apparently without any profits. The first recorded presentation, however, brought Henslowe in the unusually large sum of £3 12s., from which, as well as from the number of performances, it must be inferred that the piece was then a novelty, though Henslowe does not mark it as a 'new' play. The probability is that it had been acted during 1589, till the inhibition of the players, and was next brought before the public five 1 Cf. Collier, Hist. Eng. Dram. Poetry, 1879, I, 264, 5. years later, when the Admiral's men reappeared in London, in 1594, with Henslowe as their manager. On January 7, 1600/1, 'a booke called the plaie of Doctor Faustus' was entered for publication by Thomas Bushell, and it is likely that an edition was issued the same year, though no copy is apparently extant. All the early editions of Faustus are of excessive rarity. The oldest now known was published by Bushell in 1604, a unique copy being preserved in the Bodleian. Under date of September 13, 1610, the Stationers' Register records the transfer of copyright in Doctor Faustus from Bushell to John Wright, who had already in 1609 published an edition of the play, now known from two exemplars, and who issued the next six editions, dated respectively 1611, 1616, 1619, 1620, 1624, 1631. Of the last-named texts all except that of 1631 appear to exist in unique copies. In 1663 the play was again published, this time in an excessively maimed and corrupted state. Text and Authorship. The quartos of 1604-31 present Faustus in two very different shapes. The more original type is represented by the editions of 1604, 1609, and 1611; those of 1616 to 1631 offer a text which has been amplified to the extent of one-half the original, while the old matter has been in some cases omitted, and in others completely recast. With the question of the relation of the two texts is bound up the further question, What part of each version is to be ascribed to Marlowe ? Both points have been much discussed, and the credible evidence is too scanty to justify dogmatic assertion. There seems, however, at present to be small warrant for the belief that the 1616 edition contains any matter by Marlowe not found in the earlier versions, with the exception of a few single lines (e.g. 835, 836), which may have been in the problematical 1601 text, and were possibly omitted by the negligence of the compositor of the 1604 edition. The other changes of the later texts which consist in the bowdlerizing of certain ' atheistical' passages, the addition of a number of crude scenes taken mostly from the prose Faustbook, and the expansion of a few brief speeches into longer passages of tolerable blank verse-all these changes are sufficiently accounted for by Henslowe's memorandum of the payment of £4 on November 22, 1602, to William Birde and Samuel Rowley for ther adicyones in doctor fostes'. Four pounds is most ample payment, at Henslowe's rate, for all the new passages in the 1616 edition, and there appears to |