Bos. Oh, by no means. Physicians that apply horse-leeches to any rank swelling use to cut off their tails, that the blood may run through them the faster. Let me have no train when I go to shed blood, lest it make me have a greater when I ride to the gallows. Card. Come to me after midnight, to help to remove That body to her own lodging. I'll give out She died o' the plague; 'twill breed the less inquiry After her death. Bos. Where's Castruccio, her husband? Bos. Believe me, you have done a very happy Card. Fail not to come. There is the master- Of our lodgings; and by that you may conceive Bos. You shall find me ready. [Exit CARDINAL. In such slippery ice-pavements men had need The precedent's here afore me. How this man Bears up in blood! seems fearless! Why, 'tis well. Security some men call the suburbs of hell, Only a dead wall between. Well, good Antonio, I'll join with thee in a most just revenge. The weakest arm is strong enough that strikes duchess on you, And give you good counsel. Ant. Echo, I will not talk with thee, For thou art a dead thing. Echo. Thou art a dead thing. Ant. My duchess is asleep now, And her little ones, I hope sweetly. O Heaven, Echo. Never see her more. Ant. I mark'd not one repetition of the echo But that; and on the sudden a clear light Presented me a face folded in sorrow. Del. Your fancy merely. Ant. Come, I'll be out of this ague, Haunts me. There, there!-'Tis nothing but my It is a mockery and abuse of life. O Penitence, let me truly taste thy cup, ACT V.-SCENE III. Enter ANTONIO and DELIO. [Exit. I will not henceforth save myself by halves; Del. Your own virtue save you! Del. Yond's the cardinal's window. This for- Contempt of pain, that we may call our own. tification Grew from the ruins of an ancient abbey; Ant. I do love these ancient ruins. Till doomsday; but all things have their end: men, Must have like death that we have. Echo. Like death that we have. Del. Now the echo hath caught you. ACT V.-SCENE IV. [Exeunt. Card. It may be, to make trial of your promise, When he's asleep, myself will rise and feign Some of his mad tricks, and cry out for help, And feign myself in danger. Mal. If your throat were cutting, I'd not come at you, now I have protested against it. Card. Why, I thank you. Gris. 'Twas a foul storm to-night. Rod. The Lord Ferdinand's chamber shook like an osier. Mal. 'Twas nothing but pure kindness in the devil, Shall make thy heart break quickly! thy fair duchess And two sweet children Ant. Their very names Kindle a little life in me. Bos. Are murder'd. Ant. Some men have wish'd to die At the hearing of sad tidings; I am glad That I shall do't in sadness: I would not now Wish my wounds balm'd nor heal'd, for I have no use To put my life to. In all our quest of greatness, The process of my death; only commend me Bos. Break, heart! Ant. And let my son fly the courts of princes. [Dies. Bos. Thou seem'st to have lov'd Antonio? To have reconcil'd him to the cardinal. Bos. I do not ask thee that. Take him up, if thou tender thine own life, Was wont to lodge.-Oh, my fate moves swift! I will not imitate things glorious, No more than base; I'll be mine own example.- He ACT V.-SCENE V. Enter CARDINAL with a Book. [Exeunt. Card. I am puzzled in a question about hell: says, in hell there's one material fire, And yet it shall not burn all men alike. Enter BOSOLA, and Servant bearing ANTONIO's body. [Exit. There were hope of pardon. Thou look'st ghastly: Bos. Fall right, my sword! [Stabs him.' I'll not give thee so much leisure as to pray. Ant. Oh, I am gone! Thou hast ended a long suit In a minute. Bos. What art thou? Ant. A most wretched thing, That only have thy benefit in death, To appear myself. Re-enter Servant with a Lantern. Serv. Where are you, sir? Ant. Very near my home.-Bosola! Bos. Smother thy pity; thou art dead else.- The man I would have sav'd 'bove mine own life! We are merely the stars' tennis-balls, struck and banded Which way please them.-O good Antonio, 1 Under the belief that he is the cardinal. Now, art thou come? There sits in thy face some great determination Mix'd with some fear. Bos. Thus it lightens into action: I am come to kill thee. Card. Ha!-Help! our guard! Bos. Thou art deceiv'd; They are out of thy howling. Card. Hold; and I will faithfully divide Revenues with thee. Bos. Thy prayers and proffers Are both unseasonable. Card. Raise the watch! we are betray'd! I'll suffer your retreat to Julia's chamber, Card. Help! we are betray'd! Enter above, PESCARA, MALATESTI, RODERIGO, and GRISOLAN. Unless some rescue! Gris. He doth this pretty well; But it will not serve to laugh me out of mine honour. Card. The sword's at my throat! Rod. You would not bawl so loud then. To bed: he told us thus much aforehand. Pes. He wish'd you should not come at him; but, believe't, The accent of the voice sounds not in jest: Rod. Let's follow him aloof, And note how the cardinal will laugh at him. [Exeunt above, MALATESTI, RODERIGO, and GRISOLAN. Bos. There's for you first, 'Cause you shall not unbarricade the door To let in rescue. [Kills the Servant. Card. What cause hast thou to pursue my life? Bos. Look there. Ferd. The alarum! give me a fresh horse; My brother fight upon the adverse party! [He wounds the CARDINAL, and, in the scuffle, gives BOSOLA his death-wound. There flies your ransom. Card. O justice! I suffer now for what hath former been: Ferd. Now you're brave fellows. Cæsar's fortune was harder than Pompey's; Cæsar died in the arms of prosperity, Pompey at the feet of disgrace. You both died in the field. The pain's nothing: pain many times is taken away with the apprehension of greater, as the toothache with the sight of a barber that comes to pull it out: there's philosophy for you. Bos. Now my revenge is perfect.-Sink, thou [Kills FERDINAND. Of my undoing!-The last part of my life Hath done me best service. main cause Ferd. Give me some wet hay; I am brokenwinded. [Dies. Card. Thou hast thy payment too. Bos. Yes, I hold my weary soul in my teeth; 'Tis ready to part from me. I do glory That thou, which stood'st like a huge pyramid Begun upon a large and ample base, Shalt end in a little point, a kind of nothing. Enter PESCARA, MALATESTI, RODERIGO, and Pes. How now, my lord! Bos. Revenge for the Duchess of Malfi murder'd Poison'd by this man; and lastly for myself, Much 'gainst mine own good nature, yet i' the end Pes. How now, my lord! He gave us these large wounds, as we were struggling Here i' the rushes. And now, I pray, let me [Dies. Pes. How fatally, it seems, he did withstand His own rescue! Mal. Thou wretched thing of blood, We are only like dead walls or vaulted graves, [Dies. Pes. The noble Delio, as I came to the palace, Told me of Antonio's being here, and show'd me A pretty gentleman, his son and heir. Enter DELIO, and ANTONIO's Son. Was arm'd for't ere I came. Let us make noble use Of this great ruin; and join all our force Leave no more fame behind 'em, than should one 1 the rushes-i.e. on the rushes that then covered the floor in lieu of a carpet.-W. HAZLITT. JOHN MARSTON. [IF we may trust Oldys, this dramatist was sprung from a Shropshire family, but the date of his birth is unknown. According to Anthony-à-Wood, Marston was a student in Corpus Christi College, Oxford, and was admitted Bachelor of Arts February 23d, 1592. Mr. Halliwell, editor of Marston's works, thinks this a mistake, and conjectures that the dramatist was another John Marston, mentioned by Wood, who was 'son of a father of both names, of the city of Coventry, Esquire,' who 'became either a commoner or a gentlemancommoner of Brasen-nose College in 1591, and in the beginning of February 1593 he was admitted Bachelor of Arts, as the eldest son of an esquire, and soon after completing that degree by determination, he went his way, and improved his learning in other faculties,’— alluding probably, says Mr. Halliwell, to his poetical and dramatic efforts. It is supposed that it was Marston's father who was appointed Lecturer of the Middle Temple in 1592; and according to Oldys, the dramatist married Mary, daughter of the Rev. William Wilkes, chaplain to James I., and rector of St. Martin's, Wiltshire. In Ben Jonson's conversations with Drummond, it is stated that 'Marston wrote his father-in-law's preachings, and his father-in-law his comedies,' which Gifford thinks is a humorous allusion to the sombre air of Marston's comedies, as contrasted with the cheerful tone of his father-in-law's discourses. Marston died in June 1634, and was buried near his father in the Temple Church in London, 'under the stone which hath written on it, Oblivioni Sacrum.' For these meagre statements concerning the life of Marston we are indebted to the painstaking researches of Mr. J. O. Halliwell, who has edited an excellent edition of the dramatist's works. Marston appears to have been at one time an intimate friend and ardent admirer of Ben Jonson, but having satirized Ben in two of his plays, a quarrel took place, Jonson replying with vigour in his Poetaster. We learn from Drummond that Jonson had many quarrels with Marston, beat him, and took his pistol from him, wrote his Poetaster on him; the beginning of them were, that Marston represented him in the stage, in his youth given to venerie.' 'Were more known of the literary history of the period,' says Mr. Halliwell, it would perhaps be found that as there was probably more than one quarrel between these dramatists, so also was there more than one reconciliation.' Marston, along with Jonson and Chapman, had a hand in Eastward Hoe. His principal dramas are The Scourge of Villany (printed 1598); Antonio and Mellida (1602), the second part of which, Antonio's Revenge, was published the same year; The Malcontent (1604); The Dutch Courtezan (1605); Parasitaster (1606); Sophonisba (1606); What You Will (1607); The Insatiate Countess (1613). Besides these, he wrote a number of poems, chiefly of a satirical cast, nearly all of which, as well as many of his dramas, are characterized by coarseness and impurity of language. Indeed his nature appears to have been essentially coarse and bitter; and in illustration of this Mr. Collier quotes from a contemporary diary the following anecdote:-'Jo. Marston, the last Christmas, when he danced with Alderman More's wife's daughter, a Spaniard born, fell into a strange commendation of her wit and beauty. When he had done, she thought to pay him home, and told him she thought he was a poet. ""Tis true," said he, "for poets feign and lie; and so did I when I commended your beauty, for you are exceeding foul."' Marston has undoubtedly vigour and originality, and one writer ranks him with Fletcher, Ford, and Massinger; he can be at times pathetic and quaintly humorous; but his works are characterized by great inequality. Hazlitt calls him 'a writer of great merit, who rose to tragedy from the ground of comedy, and whose forte was not sympathy either with the stronger or softer emotions, but an impatient scorn and bitter indignation against the vices and follies of men, which vented itself either in comic verse or lofty invective. He was properly a satirist.' We have selected Antonio and Mellida, both on account of its intrinsic merits, and as being on the whole the most appropriate of Marston's dramas for a work like the present. It is printed as it stands in the original edition, except that the spelling is modernized.] ANTONIO AND MELLIDA: ACTED BY THE CHILDREN OF PAUL'S. BY JOHN MARSTON. London. 1602. PIERO SFORZA, Duke of Venice. ANDRUGIO, Duke of Genoa. Dramatis Personæ. CASTILIO BALTHAZAR. ANTONIO, son of Andrugio, disguised as FLORI- DILDO, Servant to Balurdo. ZELL, an Amazon. GALEATZO, son of the Duke of Florence. MATZAGENTE, a braggadocio, Duke of Milan's son. BALURDO, a silly, 'mountebanking' courtier. LUCIO, Companion or Servant to Andrugio. MELLIDA, Piero's Daughter. Courtiers, etc. SCENE-In and around Venice. INDUCTION. Enter GALEATZO, PIERO, ALBERTO, ANTONIO, Gal. Come, sirs, come! the music will sound straight for entrance. Are ye ready, are ye perfect? Pie. Faith! we can say our parts; but we are Of the slight'st fortunes, as if Hercules Alb. The necessity of the play forceth me to act two parts: Andrugio, the distressed Duke of Genoa, and Alberto, a Venetian gentleman, enamoured on the Lady Rossaline; whose fortunes being too weak to sustain the port of her, he prov'd always disastrous in love; his worth being underpoised' by the uneven scale, that currents all things by the outward stamp of Alb. Oh ho! then thus you frame your exterior opinion. To haughty form of elate majesty; Of reeling chance, under your fortune's belt Pie. If that be all, fear not, I'll suit it right. strut? Alb. Truth; such rank custom is grown popular; And now the vulgar fashion strides as wide, Gal. Well, and what dost thou play? Alb. The part of all the world? What's that? Bal. The fool. Ay, in good deed law now, I play Balurdo, a wealthy mountebanking burgomasco's heir of Venice. 1 underpoised-undervalued. 2 currents-makes pass current, values. 3 burgomasco's-equivalent, we suppose, to burgomaster's. |