If he depart thus suddenly, I dye: Run Anna, run, stay not to answere me. Anna. I goe faire sister, heauens graunt good successe. Enter the Nurse. Nurse. O Dido, your little sonne Ascanius Is gone! he lay with me last night, And in the morning he was stolne from me, I thinke some Fairies haue beguiled me. Exit Anna 1620 Dido. O cursed hagge and false dissembling wretch! That slayest me with thy harsh and hellish tale, 1625 Thou for some pettie guift hast let him goe, And I am thus deluded of my boy : Away with her to prison presently, Traytoresse too keend and cursed Sorceresse. Nurse. I know not what you meane by treason, I, I am as true as any one of yours. 1630 Exeunt the Nurse (and Attendants`. Dido. Away with her, suffer her not to speake. My sister comes, I like not her sad lookes. Enter Anna. Anna. Before I came, Eneas was abourd, And spying me, hoyst vp the sailes amaine : But I cride out, Æneas, false Æneas stay. 1635 Then gan he wagge his hand, which yet held vp, Made me suppose he would haue heard me speake Which when I viewd, I cride, Eneas stay, 1640 Dido, faire Dido wils Eneas stay: Yet he whose heart of adamant or flint, 1645 Dido. O Anna, Anna, I will follow him. 1628+S.D. Enter Attendants add. Dyce, keend] to kind conj. Coll., conj. Deighton kind conj. Gros.: kenn'd Cunn., Bull. Mitford Bull. 1629 too keend] keen Hurst: 1636 stay omit conj. 1642 heart 1594: heart's Hurst etc. And ore his ships will soare vnto the Sunne, That I may tice a Dolphin to the shoare, O sister, sister, take away the Rockes, 1655 1660 And now downe falles the keeles into the deepe : Theile breake his ships. O Proteus, Neptune, Ioue, Now is he come on shoare safe without hurt : 1665 And all the Sailers merrie make for ioy, But he remembring me shrinkes backe againe : See where he comes, welcome, welcome my loue. 1670 Anna. Ah sister, leaue these idle fantasies, There is a woman famoused for arts, Enter Iarbus. 1675 1680 1685 Exit Anna. Iar. How long will Dido mourne a strangers flight, That hath dishonord her and Carthage both? 1652 ship Hurst, Cunn. to Gros. Cunn. 1656 Anna repeat conj. Dyce, Cunn. 1660 him] 'em Dyce: them 1678 I, I] Aye, Arions Dyce to Gros. I Hurst to Bull. 1679+S.D. Aside add. Dyce, Bull. 1682 Not.. hence omit conj. Mitford 1682-3 One line 1594: div. Dyce 1684 Daughter] Guardian conj. Bull.: Drugster conj. Deighton How long shall I with griefe consume my daies, Dido. Iarbus, talke not of Eneas, let him goe, To cure my minde that melts for vnkind loue. Iar. But afterwards will Dido graunt me loue? 1690 1695 Exit Iarbus. Now Dido, with these reliques burne thy selfe, 1700 1710 Thou shalt burne first, thy crime is worse then his : 1705 Sic sic iuuat ire sub vmbras. 1715 1720 (Stabs herself and throws herself into the flames.) Enter Anna. Anna. O helpe Iarbus, Dido in these flames Hath burnt her selfe, aye me, vnhappie me! 1690+S.D. Enter Attendants with wood and torches add. Dyce 1691 Iarbus] Oh conj. Mitford 1698 +S.D. They make a fire 1721 S.D. add. add. Dyce 1703, 1706 lies Hurst, Dyce Gros. 1723, 1726 aye] ah Hurst, Cunn. Enter Iarbus running. Iar. Cursed Iarbus, dye to expiate The griefe that tires vpon thine inward soule, 1725 (Kills himself.) 1730 Anna. What can my teares or cryes preuaile me now? Dido is dead, Iarbus slaine, Iarbus my deare loue. O sweet Iarbus, Annas sole delight, What fatall destinie enuies me thus, To see my sweet Iarbus slay himselfe ? But Anna now shall honor thee in death, And mixe her bloud with thine, this shall I doe, That Gods and men may pitie this my death, And rue our ends senceles of life or breath: Now sweet Iarbus stay, I come to thee. 1726 S.D. add. Hurst 1735 (Kills herself.) FINIS. 1736 S.D add. Hurst v. i. 1724-1736 THE MASSACRE AT PARIS Date. The play of The Massacre at Paris or The Guise, as Henslowe sometimes terms it with rather more propriety, must have been composed between August 2, 1589, and January 30, 1593. On the first of these dates occurred the event with which the tragedy closes, the death of Henri III of France; on the latter occasion the play was performed at Henslowe's theatre by the company of the Lord Strange. Since Henslowe marks 'the tragedey of the gvyes' as a new play on January 30, 1593, it was probably composed pretty shortly before, and is therefore to be reckoned one of the latest of Marlowe's dramatic works. Crude as the play undoubtedly is, there is nothing to indicate that it was written very immediately after the assassination of the French king, for that event, which in a contemporary topical' drama would naturally have formed the mainstay of the plot, is here given very little importance, while the principal interest centres about the ancient history of St. Bartholomew and the animosities of Guise and Navarre. Stage history. In addition to the single performance by Lord Strange's servants already mentioned, which produced the large sum of £3 14s., Henslowe records ten representations by the Admiral's company between June 19 and September 25, 1594. Notes of expenditure for stage properties show that The Guise was revived in 1598, and again in 1601, and a further memorandum records the disbursement of £6 pd at the apoyntment of the companye the 18 of Janewary 1601 [1602, N.S.] vnto E. Alleyn for iij. boockes wch were played', second on the list being 'the massaker of france". Mr. Greg is no doubt correct in his opinion1 that the manuscript of our play had been brought to the Admiral's company by Alleyn, when that famous actor left Lord Strange's men to join the other troupe. Text. The Massacre at Paris does not appear to have |