The Project Gutenberg Etext of Volpone; Or, The Fox
by Ben Jonson
(#5 in our series by Ben Jonson)
Copyright laws are changing all over the world, be sure to check the laws for your country before redistributing these files!!!
Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers.
Please do not remove this.
This should be the first thing seen when anyone opens the book. Do not change or edit it without written permission. The words are carefully chosen to provide users with the information they need about what they can legally do with the texts.
**Welcome To The World of Free Plain Vanilla Electronic Texts**
**Etexts Readable By Both Humans and By Computers, Since 1971**
*****These Etexts Are Prepared By Thousands of Volunteers!*****
Information on contacting Project Gutenberg to get Etexts, and further information is included below, including for donations.
The Project Gutenberg Literary Archive Foundation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541
Title: Volpone; Or, The Fox
Author: Ben Jonson
Release Date: May, 2003 [Etext #4039]
[Yes, we are about one year ahead of schedule]
[The actual date this file first posted = 10/19/01]
Edition: 10
Language: English
The Project Gutenberg Etext of Volpone; Or, The Fox
by Ben Jonson
******This file should be named vlpnr10.txt or vlpnr10.zip******
Corrected EDITIONS of our etexts get a new NUMBER, vlpnr11.txt VERSIONS based on separate sources get new LETTER, vlpnr10a.txt
This Project Gutenberg Etext Prepared by:
Amy E Zelmer <a.zelmer@cqu.edu.au>
Robert Prince <rkp277@msn.com>
Sue Asscher <asschers@dingoblue.net.au>
Project Gutenberg Etexts are usually created from multiple editions, all of which are in the Public Domain in the United States, unless a copyright notice is included. Therefore, we usually do NOT keep any of these books in compliance with any particular paper edition.
We are now trying to release all our books one year in advance of the official release dates, leaving time for better editing. Please be encouraged to send us error messages even years after the official publication date.
Please note neither this listing nor its contents are final til midnight of the last day of the month of any such announcement. The official release date of all Project Gutenberg Etexts is at Midnight, Central Time, of the last day of the stated month. A preliminary version may often be posted for suggestion, comment and editing by those who wish to do so.
Most people start at our sites at:
http://gutenberg.net
http://promo.net/pg
Those of you who want to download any Etext before announcement can surf to them as follows, and just download by date; this is also a good way to get them instantly upon announcement, as the indexes our cataloguers produce obviously take a while after an announcement goes out in the Project Gutenberg Newsletter.
http://www.ibiblio.org/gutenberg/etext03
or
ftp://ftp.ibiblio.org/pub/docs/books/gutenberg/etext03
Or /etext02, 01, 00, 99, 98, 97, 96, 95, 94, 93, 92, 92, 91 or 90
Just search by the first five letters of the filename you want, as it appears in our Newsletters.
Information about Project Gutenberg (one page)
We produce about two million dollars for each hour we work. The time it takes us, a rather conservative estimate, is fifty hours to get any etext selected, entered, proofread, edited, copyright searched and analyzed, the copyright letters written, etc. This projected audience is one hundred million readers. If our value per text is nominally estimated at one dollar then we produce $2 million dollars per hour this year as we release fifty new Etext files per month, or 500 more Etexts in 2000 for a total of 3000+ If they reach just 1-2% of the world's population then the total should reach over 300 billion Etexts given away by year's end.
The Goal of Project Gutenberg is to Give Away One Trillion Etext Files by December 31, 2001. [10,000 x 100,000,000 = 1 Trillion] This is ten thousand titles each to one hundred million readers, which is only about 4% of the present number of computer users.
At our revised rates of production, we will reach only one-third of that goal by the end of 2001, or about 4,000 Etexts unless we manage to get some real funding.
The Project Gutenberg Literary Archive Foundation has been created to secure a future for Project Gutenberg into the next millennium.
We need your donations more than ever!
As of July 12, 2001 contributions are only being solicited from people in: Arkansas, Colorado, Connecticut, Delaware, Florida, Georgia, Hawaii, Idaho, Illinois, Indiana, Iowa, Kansas, Louisiana, Maine, Massachusetts, Minnesota, Missouri, Montana, Nebraska, New Mexico, Nevada, New Jersey, New York, North Carolina, Ohio, Oklahoma, Oregon, Rhode Island, South Carolina, South Dakota, Tennessee, Texas, Utah, Vermont, Virginia, Washington, West Virginia, Wisconsin, and Wyoming.
We have filed in about 45 states now, but these are the only ones that have responded.
As the requirements for other states are met, additions to this list will be made and fund raising will begin in the additional states. Please feel free to ask to check the status of your state.
In answer to various questions we have received on this:
We are constantly working on finishing the paperwork to legally request donations in all 50 states. If your state is not listed and you would like to know if we have added it since the list you have, just ask.
While we cannot solicit donations from people in states where we are not yet registered, we know of no prohibition against accepting donations from donors in these states who approach us with an offer to donate.
International donations are accepted,
but we don't know ANYTHING about how
to make them tax-deductible, or
even if they CAN be made deductible,
and don't have the staff to handle it
even if there are ways.
All donations should be made to:
Project Gutenberg Literary Archive Foundation
PMB 113
1739 University Ave.
Oxford, MS 38655-4109
The Project Gutenberg Literary Archive Foundation is a 501(c)(3) organization with EIN [Employee Identification Number] 64-6221541, and has been approved as a 501(c)(3) organization by the US Internal Revenue Service (IRS). Donations are tax-deductible to the maximum extent permitted by law. As the requirements for other states are met, additions to this list will be made and fund raising will begin in the additional states.
We need your donations more than ever!
You can get up to date donation information at:
http://www.gutenberg.net/donation.html
***
If you can't reach Project Gutenberg,
you can always email directly to:
Michael S. Hart <hart@pobox.com>
hart@pobox.com forwards to hart@prairienet.org and archive.org if your mail bounces from archive.org, I will still see it, if it bounces from prairienet.org, better resend later on. . . .
Prof. Hart will answer or forward your message.
We would prefer to send you information by email.
***
Example command-line FTP session:
ftp ftp.ibiblio.org
login: anonymous
password: your@login
cd pub/docs/books/gutenberg
cd etext90 through etext99 or etext00 through etext02, etc.
dir [to see files]
get or mget [to get files. . .set bin for zip files]
GET GUTINDEX.?? [to get a year's listing of books, e.g., GUTINDEX.99]
GET GUTINDEX.ALL [to get a listing of ALL books]
**The Legal Small Print**
(Three Pages)
***START**THE SMALL PRINT!**FOR PUBLIC DOMAIN ETEXTS**START*** Why is this "Small Print!" statement here? You know: lawyers. They tell us you might sue us if there is something wrong with your copy of this etext, even if you got it for free from someone other than us, and even if what's wrong is not our fault. So, among other things, this "Small Print!" statement disclaims most of our liability to you. It also tells you how you may distribute copies of this etext if you want to.
*BEFORE!* YOU USE OR READ THIS ETEXT
By using or reading any part of this PROJECT GUTENBERG-tm
etext, you indicate that you understand, agree to and accept
this "Small Print!" statement. If you do not, you can receive
a refund of the money (if any) you paid for this etext by
sending a request within 30 days of receiving it to the person
you got it from. If you received this etext on a physical
medium (such as a disk), you must return it with your request.
ABOUT PROJECT GUTENBERG-TM ETEXTS
This PROJECT GUTENBERG-tm etext, like most PROJECT GUTENBERG-tm etexts,
is a "public domain" work distributed by Professor Michael S. Hart
through the Project Gutenberg Association (the "Project").
Among other things, this means that no one owns a United States copyright
on or for this work, so the Project (and you!) can copy and
distribute it in the United States without permission and
without paying copyright royalties. Special rules, set forth
below, apply if you wish to copy and distribute this etext
under the "PROJECT GUTENBERG" trademark.
Please do not use the "PROJECT GUTENBERG" trademark to market any commercial products without permission.
To create these etexts, the Project expends considerable efforts to identify, transcribe and proofread public domain works. Despite these efforts, the Project's etexts and any medium they may be on may contain "Defects". Among other things, Defects may take the form of incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other etext medium, a computer virus, or computer codes that damage or cannot be read by your equipment.
LIMITED WARRANTY; DISCLAIMER OF DAMAGES But for the "Right of Replacement or Refund" described below, [1] Michael Hart and the Foundation (and any other party you may receive this etext from as a PROJECT GUTENBERG-tm etext) disclaims all liability to you for damages, costs and expenses, including legal fees, and [2] YOU HAVE NO REMEDIES FOR NEGLIGENCE OR UNDER STRICT LIABILITY, OR FOR BREACH OF WARRANTY OR CONTRACT, INCLUDING BUT NOT LIMITED TO INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES, EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES.
If you discover a Defect in this etext within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending an explanatory note within that time to the person you received it from. If you received it on a physical medium, you must return it with your note, and such person may choose to alternatively give you a replacement copy. If you received it electronically, such person may choose to alternatively give you a second opportunity to receive it electronically.
THIS ETEXT IS OTHERWISE PROVIDED TO YOU "AS-IS". NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, ARE MADE TO YOU AS TO THE ETEXT OR ANY MEDIUM IT MAY BE ON, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE.
Some states do not allow disclaimers of implied warranties or the exclusion or limitation of consequential damages, so the above disclaimers and exclusions may not apply to you, and you may have other legal rights.
INDEMNITY
You will indemnify and hold Michael Hart, the Foundation,
and its trustees and agents, and any volunteers associated
with the production and distribution of Project Gutenberg-tm
texts harmless, from all liability, cost and expense, including
legal fees, that arise directly or indirectly from any of the
following that you do or cause: [1] distribution of this etext,
[2] alteration, modification, or addition to the etext,
or [3] any Defect.
DISTRIBUTION UNDER "PROJECT GUTENBERG-tm" You may distribute copies of this etext electronically, or by disk, book or any other medium if you either delete this "Small Print!" and all other references to Project Gutenberg, or:
[1] Only give exact copies of it. Among other things, this
requires that you do not remove, alter or modify the
etext or this "small print!" statement. You may however,
if you wish, distribute this etext in machine readable
binary, compressed, mark-up, or proprietary form,
including any form resulting from conversion by word
processing or hypertext software, but only so long as
*EITHER*:
[*] The etext, when displayed, is clearly readable, and
does *not* contain characters other than those
intended by the author of the work, although tilde
(~), asterisk (*) and underline (_) characters may
be used to convey punctuation intended by the
author, and additional characters may be used to
indicate hypertext links; OR
[*] The etext may be readily converted by the reader at
no expense into plain ASCII, EBCDIC or equivalent
form by the program that displays the etext (as is
the case, for instance, with most word processors);
OR
[*] You provide, or agree to also provide on request at
no additional cost, fee or expense, a copy of the
etext in its original plain ASCII form (or in EBCDIC
or other equivalent proprietary form).
[2] Honor the etext refund and replacement provisions of this
"Small Print!" statement.
[3] Pay a trademark license fee to the Foundation of 20% of the
gross profits you derive calculated using the method you
already use to calculate your applicable taxes. If you
don't derive profits, no royalty is due. Royalties are
payable to "Project Gutenberg Literary Archive Foundation"
the 60 days following each date you prepare (or were
legally required to prepare) your annual (or equivalent
periodic) tax return. Please contact us beforehand to
let us know your plans and to work out the details.
WHAT IF YOU *WANT* TO SEND MONEY EVEN IF YOU DON'T HAVE TO? Project Gutenberg is dedicated to increasing the number of public domain and licensed works that can be freely distributed in machine readable form.
The Project gratefully accepts contributions of money, time,
public domain materials, or royalty free copyright licenses.
Money should be paid to the:
"Project Gutenberg Literary Archive Foundation."
If you are interested in contributing scanning equipment or software or other items, please contact Michael Hart at: hart@pobox.com
[Portions of this header are copyright (C) 2001 by Michael S. Hart and may be reprinted only when these Etexts are free of all fees.] [Project Gutenberg is a TradeMark and may not be used in any sales of Project Gutenberg Etexts or other materials be they hardware or software or any other related product without express permission.]
*END THE SMALL PRINT! FOR PUBLIC DOMAIN ETEXTS*Ver.07/27/01*END*
This Project Gutenberg Etext Prepared by:
Amy E Zelmer <a.zelmer@cqu.edu.au>
Robert Prince <rkp277@msn.com>
Sue Asscher <asschers@dingoblue.net.au>
VOLPONE; OR, THE FOX
BY BEN JONSON
INTRODUCTION
The greatest of English dramatists except Shakespeare, the first literary dictator and poet-laureate, a writer of verse, prose, satire, and criticism who most potently of all the men of his time affected the subsequent course of English letters: such was Ben Jonson, and as such his strong personality assumes an interest to us almost unparalleled, at least in his age.
Ben Jonson came of the stock that was centuries after to give to the world Thomas Carlyle; for Jonson's grandfather was of Annandale, over the Solway, whence he migrated to England. Jonson's father lost his estate under Queen Mary, "having been cast into prison and forfeited." He entered the church, but died a month before his illustrious son was born, leaving his widow and child in poverty. Jonson's birthplace was Westminster, and the time of his birth early in 1573. He was thus nearly ten years Shakespeare's junior, and less well off, if a trifle better born. But Jonson did not profit even by this slight advantage. His mother married beneath her, a wright or bricklayer, and Jonson was for a time apprenticed to the trade. As a youth he attracted the attention of the famous antiquary, William Camden, then usher at Westminster School, and there the poet laid the solid foundations of his classical learning. Jonson always held Camden in veneration, acknowledging that to him he owed,
"All that I am in arts, all that I know;"
and dedicating his first dramatic success, "Every Man in His Humour," to him. It is doubtful whether Jonson ever went to either university, though Fuller says that he was "statutably admitted into St. John's College, Cambridge." He tells us that he took no degree, but was later "Master of Arts in both the universities, by their favour, not his study." When a mere youth Jonson enlisted as a soldier, trailing his pike in Flanders in the protracted wars of William the Silent against the Spanish. Jonson was a large and raw-boned lad; he became by his own account in time exceedingly bulky. In chat with his friend William Drummond of Hawthornden, Jonson told how "in his service in the Low Countries he had, in the face of both the camps, killed an enemy, and taken opima spolia from him;" and how "since his coming to England, being appealed to the fields, he had killed his adversary which had hurt him in the arm and whose sword was ten inches longer than his." Jonson's reach may have made up for the lack of his sword; certainly his prowess lost nothing in the telling. Obviously Jonson was brave, combative, and not averse to talking of himself and his doings.
In 1592, Jonson returned from abroad penniless. Soon after he married, almost as early and quite as imprudently as Shakespeare. He told Drummond curtly that "his wife was a shrew, yet honest"; for some years he lived apart from her in the household of Lord Albany. Yet two touching epitaphs among Jonson's "Epigrams," "On my first daughter," and "On my first son," attest the warmth of the poet's family affections. The daughter died in infancy, the son of the plague; another son grew up to manhood little credit to his father whom he survived. We know nothing beyond this of Jonson's domestic life.
How soon Jonson drifted into what we now call grandly "the theatrical profession" we do not know. In 1593, Marlowe made his tragic exit from life, and Greene, Shakespeare's other rival on the popular stage, had preceded Marlowe in an equally miserable death the year before. Shakespeare already had the running to himself. Jonson appears first in the employment of Philip Henslowe, the exploiter of several troupes of players, manager, and father-in-law of the famous actor, Edward Alleyn. From entries in "Henslowe's Diary," a species of theatrical account book which has been handed down to us, we know that Jonson was connected with the Admiral's men; for he borrowed 4 pounds of Henslowe, July 28, 1597, paying back 3s. 9d. on the same day on account of his "share" (in what is not altogether clear); while later, on December 3, of the same year, Henslowe advanced 20s. to him "upon a book which he showed the plot unto the company which he promised to deliver unto the company at Christmas next." In the next August Jonson was in collaboration with Chettle and Porter in a play called "Hot Anger Soon Cold." All this points to an association with Henslowe of some duration, as no mere tyro would be thus paid in advance upon mere promise. From allusions in Dekker's play, "Satiromastix," it appears that Jonson, like Shakespeare, began life as an actor, and that he "ambled in a leather pitch by a play-wagon" taking at one time the part of Hieronimo in Kyd's famous play, "The Spanish Tragedy." By the beginning of 1598, Jonson, though still in needy circumstances, had begun to receive recognition. Francis Meres-- well known for his "Comparative Discourse of our English Poets with the Greek, Latin, and Italian Poets," printed in 1598, and for his mention therein of a dozen plays of Shakespeare by title--accords to Ben Jonson a place as one of "our best in tragedy," a matter of some surprise, as no known tragedy of Jonson from so early a date has come down to us. That Jonson was at work on tragedy, however, is proved by the entries in Henslowe of at least three tragedies, now lost, in which he had a hand. These are "Page of Plymouth," "King Robert II. of Scotland," and "Richard Crookback." But all of these came later, on his return to Henslowe, and range from August 1599 to June 1602.
Returning to the autumn of 1598, an event now happened to sever for a time Jonson's relations with Henslowe. In a letter to Alleyn, dated September 26 of that year, Henslowe writes: "I have lost one of my company that hurteth me greatly; that is Gabriel [Spencer], for he is slain in Hogsden fields by the hands of Benjamin Jonson, bricklayer." The last word is perhaps Henslowe's thrust at Jonson in his displeasure rather than a designation of his actual continuance at his trade up to this time. It is fair to Jonson to remark however, that his adversary appears to have been a notorious fire-eater who had shortly before killed one Feeke in a similar squabble. Duelling was a frequent occurrence of the time among gentlemen and the nobility; it was an impudent breach of the peace on the part of a player. This duel is the one which Jonson described years after to Drummond, and for it Jonson was duly arraigned at Old Bailey, tried, and convicted. He was sent to prison and such goods and chattels as he had "were forfeited." It is a thought to give one pause that, but for the ancient law permitting convicted felons to plead, as it was called, the benefit of clergy, Jonson might have been hanged for this deed. The circumstance that the poet could read and write saved him; and he received only a brand of the letter "T," for Tyburn, on his left thumb. While in jail Jonson became a Roman Catholic; but he returned to the faith of the Church of England a dozen years later.
On his release, in disgrace with Henslowe and his former associates, Jonson offered his services as a playwright to Henslowe's rivals, the Lord Chamberlain's company, in which Shakespeare was a prominent shareholder. A tradition of long standing, though not susceptible of proof in a court of law, narrates that Jonson had submitted the manuscript of "Every Man in His Humour" to the Chamberlain's men and had received from the company a refusal; that Shakespeare called him back, read the play himself, and at once accepted it. Whether this story is true or not, certain it is that "Every Man in His Humour" was accepted by Shakespeare's company and acted for the first time in 1598, with Shakespeare taking a part. The evidence of this is contained in the list of actors prefixed to the comedy in the folio of Jonson's works, 1616. But it is a mistake to infer, because Shakespeare's name stands first in the list of actors and the elder Kno'well first in the dramatis personae, that Shakespeare took that particular part. The order of a list of Elizabethan players was generally that of their importance or priority as shareholders in the company and seldom if ever corresponded to the list of characters.
"Every Man in His Humour" was an immediate success, and with it Jonson's reputation as one of the leading dramatists of his time was established once and for all. This could have been by no means Jonson's earliest comedy, and we have just learned that he was already reputed one of "our best in tragedy." Indeed, one of Jonson's extant comedies, "The Case is Altered," but one never claimed by him or published as his, must certainly have preceded "Every Man in His Humour" on the stage. The former play may be described as a comedy modelled on the Latin plays of Plautus. (It combines, in fact, situations derived from the "Captivi" and the "Aulularia" of that dramatist). But the pretty story of the beggar-maiden, Rachel, and her suitors, Jonson found, not among the classics, but in the ideals of romantic love which Shakespeare had already popularised on the stage. Jonson never again produced so fresh and lovable a feminine personage as Rachel, although in other respects "The Case is Altered" is not a conspicuous play, and, save for the satirising of Antony Munday in the person of Antonio Balladino and Gabriel Harvey as well, is perhaps the least characteristic of the comedies of Jonson.
"Every Man in His Humour," probably first acted late in the summer of 1598 and at the Curtain, is commonly regarded as an epoch-making play; and this view is not unjustified. As to plot, it tells little more than how an intercepted letter enabled a father to follow his supposedly studious son to London, and there observe his life with the gallants of the time. The real quality of this comedy is in its personages and in the theory upon which they are conceived. Ben Jonson had theories about poetry and the drama, and he was neither chary in talking of them nor in experimenting with them in his plays. This makes Jonson, like Dryden in his time, and Wordsworth much later, an author to reckon with; particularly when we remember that many of Jonson's notions came for a time definitely to prevail and to modify the whole trend of English poetry. First of all Jonson was a classicist, that is, he believed in restraint and precedent in art in opposition to the prevalent ungoverned and irresponsible Renaissance spirit. Jonson believed that there was a professional way of doing things which might be reached by a study of the best examples, and he found these examples for the most part among the ancients. To confine our attention to the drama, Jonson objected to the amateurishness and haphazard nature of many contemporary plays, and set himself to do something different; and the first and most striking thing that he evolved was his conception and practice of the comedy of humours.
As Jonson has been much misrepresented in this matter, let us quote his own words as to "humour." A humour, according to Jonson, was a bias of disposition, a warp, so to speak, in character by which
"Some one peculiar quality
Doth so possess a man, that it doth draw
All his affects, his spirits, and his powers,
In their confluctions, all to run one way."
But continuing, Jonson is careful to add:
"But that a rook by wearing a pied feather, The cable hat-band, or the three-piled ruff, A yard of shoe-tie, or the Switzers knot On his French garters, should affect a humour! O, it is more than most ridiculous."
Jonson's comedy of humours, in a word, conceived of stage personages on the basis of a ruling trait or passion (a notable simplification of actual life be it observed in passing); and, placing these typified traits in juxtaposition in their conflict and contrast, struck the spark of comedy. Downright, as his name indicates, is "a plain squire"; Bobadill's humour is that of the braggart who is incidentally, and with delightfully comic effect, a coward; Brainworm's humour is the finding out of things to the end of fooling everybody: of course he is fooled in the end himself. But it was not Jonson's theories alone that made the success of "Every Man in His Humour." The play is admirably written and each character is vividly conceived, and with a firm touch based on observation of the men of the London of the day. Jonson was neither in this, his first great comedy (nor in any other play that he wrote), a supine classicist, urging that English drama return to a slavish adherence to classical conditions. He says as to the laws of the old comedy (meaning by "laws," such matters as the unities of time and place and the use of chorus): "I see not then, but we should enjoy the same licence, or free power to illustrate and heighten our invention as they [the ancients] did; and not be tied to those strict and regular forms which the niceness of a few, who are nothing but form, would thrust upon us." "Every Man in His Humour" is written in prose, a novel practice which Jonson had of his predecessor in comedy, John Lyly. Even the word "humour" seems to have been employed in the Jonsonian sense by Chapman before Jonson's use of it. Indeed, the comedy of humours itself is only a heightened variety of the comedy of manners which represents life, viewed at a satirical angle, and is the oldest and most persistent species of comedy in the language. None the less, Jonson's comedy merited its immediate success and marked out a definite course in which comedy long continued to run. To mention only Shakespeare's Falstaff and his rout, Bardolph, Pistol, Dame Quickly, and the rest, whether in "Henry IV." or in "The Merry Wives of Windsor," all are conceived in the spirit of humours. So are the captains, Welsh, Scotch, and Irish of "Henry V.," and Malvolio especially later; though Shakespeare never employed the method of humours for an important personage. It was not Jonson's fault that many of his successors did precisely the thing that he had reprobated, that is, degrade "the humour: into an oddity of speech, an eccentricity of manner, of dress, or cut of beard. There was an anonymous play called "Every Woman in Her Humour." Chapman wrote "A Humourous Day's Mirth," Day, "Humour Out of Breath," Fletcher later, "The Humourous Lieutenant," and Jonson, besides "Every Man Out of His Humour," returned to the title in closing the cycle of his comedies in "The Magnetic Lady or Humours Reconciled."
With the performance of "Every Man Out of His Humour" in 1599, by Shakespeare's company once more at the Globe, we turn a new page in Jonson's career. Despite his many real virtues, if there is one feature more than any other that distinguishes Jonson, it is his arrogance; and to this may be added his self-righteousness, especially under criticism or satire. "Every Man Out of His Humour" is the first of three "comical satires" which Jonson contributed to what Dekker called the poetomachia or war of the theatres as recent critics have named it. This play as a fabric of plot is a very slight affair; but as a satirical picture of the manners of the time, proceeding by means of vivid caricature, couched in witty and brilliant dialogue and sustained by that righteous indignation which must lie at the heart of all true satire--as a realisation, in short, of the classical ideal of comedy--there had been nothing like Jonson's comedy since the days of Aristophanes. "Every Man in His Humour," like the two plays that follow it, contains two kinds of attack, the critical or generally satiric, levelled at abuses and corruptions in the abstract; and the personal, in which specific application is made of all this in the lampooning of poets and others, Jonson's contemporaries. The method of personal attack by actual caricature of a person on the stage is almost as old as the drama. Aristophanes so lampooned Euripides in "The Acharnians" and Socrates in "The Clouds," to mention no other examples; and in English drama this kind of thing is alluded to again and again. What Jonson really did, was to raise the dramatic lampoon to an art, and make out of a casual burlesque and bit of mimicry a dramatic satire of literary pretensions and permanency. With the arrogant attitude mentioned above and his uncommon eloquence in scorn, vituperation, and invective, it is no wonder that Jonson soon involved himself in literary and even personal quarrels with his fellow-authors. The circumstances of the origin of this 'poetomachia' are far from clear, and those who have written on the topic, except of late, have not helped to make them clearer. The origin of the "war" has been referred to satirical references, apparently to Jonson, contained in "The Scourge of Villainy," a satire in regular form after the manner of the ancients by John Marston, a fellow playwright, subsequent friend and collaborator of Jonson's. On the other hand, epigrams of Jonson have been discovered (49, 68, and 100) variously charging "playwright" (reasonably identified with Marston) with scurrility, cowardice, and plagiarism; though the dates of the epigrams cannot be ascertained with certainty. Jonson's own statement of the matter to Drummond runs: "He had many quarrels with Marston, beat him, and took his pistol from him, wrote his "Poetaster" on him; the beginning[s] of them were that Marston represented him on the stage."*
[footnote] *The best account of this whole subject is to be found in the edition of "Poetaster" and "Satiromastrix" by J. H. Penniman in "Belles Lettres Series" shortly to appear. See also his earlier work, "The War of the Theatres," 1892, and the excellent contributions to the subject by H. C. Hart in "Notes and Queries," and in his edition of Jonson, 1906.
Here at least we are on certain ground; and the principals of the quarrel are known. "Histriomastix," a play revised by Marston in 1598, has been regarded as the one in which Jonson was thus "represented on the stage"; although the personage in question, Chrisogonus, a poet, satirist, and translator, poor but proud, and contemptuous of the common herd, seems rather a complimentary portrait of Jonson than a caricature. As to the personages actually ridiculed in "Every Man Out of His Humour," Carlo Buffone was formerly thought certainly to be Marston, as he was described as "a public, scurrilous, and profane jester," and elsewhere as the grand scourge or second untruss [that is, satirist], of the time" (Joseph Hall being by his own boast the first, and Marston's work being entitled "The Scourge of Villainy"). Apparently we must now prefer for Carlo a notorious character named Charles Chester, of whom gossipy and inaccurate Aubrey relates that he was "a bold impertinent fellow...a perpetual talker and made a noise like a drum in a room. So one time at a tavern Sir Walter Raleigh beats him and seals up his mouth (that is his upper and nether beard) with hard wax. From him Ben Jonson takes his Carlo Buffone ['i.e.', jester] in "Every Man in His Humour" ['sic']." Is it conceivable that after all Jonson was ridiculing Marston, and that the point of the satire consisted in an intentional confusion of "the grand scourge or second untruss" with "the scurrilous and profane" Chester?
We have digressed into detail in this particular case to exemplify the difficulties of criticism in its attempts to identify the allusions in these forgotten quarrels. We are on sounder ground of fact in recording other manifestations of Jonson's enmity. In "The Case is Altered" there is clear ridicule in the character Antonio Balladino of Anthony Munday, pageant-poet of the city, translator of romances and playwright as well. In "Every Man in His Humour" there is certainly a caricature of Samuel Daniel, accepted poet of the court, sonneteer, and companion of men of fashion. These men held recognised positions to which Jonson felt his talents better entitled him; they were hence to him his natural enemies. It seems almost certain that he pursued both in the personages of his satire through "Every Man Out of His Humour," and "Cynthia's Revels," Daniel under the characters Fastidious Brisk and Hedon, Munday as Puntarvolo and Amorphus; but in these last we venture on quagmire once more. Jonson's literary rivalry of Daniel is traceable again and again, in the entertainments that welcomed King James on his way to London, in the masques at court, and in the pastoral drama. As to Jonson's personal ambitions with respect to these two men, it is notable that he became, not pageant-poet, but chronologer to the City of London; and that, on the accession of the new king, he came soon to triumph over Daniel as the accepted entertainer of royalty.
"Cynthia's Revels," the second "comical satire," was acted in 1600, and, as a play, is even more lengthy, elaborate, and impossible than "Every Man Out of His Humour." Here personal satire seems to have absorbed everything, and while much of the caricature is admirable, especially in the detail of witty and trenchantly satirical dialogue, the central idea of a fountain of self-love is not very well carried out, and the persons revert at times to abstractions, the action to allegory. It adds to our wonder that this difficult drama should have been acted by the Children of Queen Elizabeth's Chapel, among them Nathaniel Field with whom Jonson read Horace and Martial, and whom he taught later how to make plays. Another of these precocious little actors was Salathiel Pavy, who died before he was thirteen, already famed for taking the parts of old men. Him Jonson immortalised in one of the sweetest of his epitaphs. An interesting sidelight is this on the character of this redoubtable and rugged satirist, that he should thus have befriended and tenderly remembered these little theatrical waifs, some of whom (as we know) had been literally kidnapped to be pressed into the service of the theatre and whipped to the conning of their difficult parts. To the caricature of Daniel and Munday in "Cynthia's Revels" must be added Anaides (impudence), here assuredly Marston, and Asotus (the prodigal), interpreted as Lodge or, more perilously, Raleigh. Crites, like Asper-Macilente in "Every Man Out of His Humour," is Jonson's self-complaisant portrait of himself, the just, wholly admirable, and judicious scholar, holding his head high above the pack of the yelping curs of envy and detraction, but careless of their puny attacks on his perfections with only too mindful a neglect.
The third and last of the "comical satires" is "Poetaster," acted, once more, by the Children of the Chapel in 1601, and Jonson's only avowed contribution to the fray. According to the author's own account, this play was written in fifteen weeks on a report that his enemies had entrusted to Dekker the preparation of "Satiromastix, the Untrussing of the Humorous Poet," a dramatic attack upon himself. In this attempt to forestall his enemies Jonson succeeded, and "Poetaster" was an immediate and deserved success. While hardly more closely knit in structure than its earlier companion pieces, "Poetaster" is planned to lead up to the ludicrous final scene in which, after a device borrowed from the "Lexiphanes" of Lucian, the offending poetaster, Marston-Crispinus, is made to throw up the difficult words with which he had overburdened his stomach as well as overlarded his vocabulary. In the end Crispinus with his fellow, Dekker-Demetrius, is bound over to keep the peace and never thenceforward "malign, traduce, or detract the person or writings of Quintus Horatius Flaccus [Jonson] or any other eminent man transcending you in merit." One of the most diverting personages in Jonson's comedy is Captain Tucca. "His peculiarity" has been well described by Ward as "a buoyant blackguardism which recovers itself instantaneously from the most complete exposure, and a picturesqueness of speech like that of a walking dictionary of slang."
It was this character, Captain Tucca, that Dekker hit upon in his reply, "Satiromastix," and he amplified him, turning his abusive vocabulary back upon Jonson and adding "an immodesty to his dialogue that did not enter into Jonson's conception." It has been held, altogether plausibly, that when Dekker was engaged professionally, so to speak, to write a dramatic reply to Jonson, he was at work on a species of chronicle history, dealing with the story of Walter Terill in the reign of William Rufus. This he hurriedly adapted to include the satirical characters suggested by "Poetaster," and fashioned to convey the satire of his reply. The absurdity of placing Horace in the court of a Norman king is the result. But Dekker's play is not without its palpable hits at the arrogance, the literary pride, and self-righteousness of Jonson-Horace, whose "ningle" or pal, the absurd Asinius Bubo, has recently been shown to figure forth, in all likelihood, Jonson's friend, the poet Drayton. Slight and hastily adapted as is "Satiromastix," especially in a comparison with the better wrought and more significant satire of "Poetaster," the town awarded the palm to Dekker, not to Jonson; and Jonson gave over in consequence his practice of "comical satire." Though Jonson was cited to appear before the Lord Chief Justice to answer certain charges to the effect that he had attacked lawyers and soldiers in "Poetaster," nothing came of this complaint. It may be suspected that much of this furious clatter and give-and-take was pure playing to the gallery. The town was agog with the strife, and on no less an authority than Shakespeare ("Hamlet," ii. 2), we learn that the children's company (acting the plays of Jonson) did "so berattle the common stages...that many, wearing rapiers, are afraid of goose-quills, and dare scarce come thither."
Several other plays have been thought to bear a greater or less part in the war of the theatres. Among them the most important is a college play, entitled "The Return from Parnassus," dating 1601-02. In it a much-quoted passage makes Burbage, as a character, declare: "Why here's our fellow Shakespeare puts them all down; aye and Ben Jonson, too. O that Ben Jonson is a pestilent fellow; he brought up Horace, giving the poets a pill, but our fellow Shakespeare hath given him a purge that made him bewray his credit." Was Shakespeare then concerned in this war of the stages? And what could have been the nature of this "purge"? Among several suggestions, "Troilus and Cressida" has been thought by some to be the play in which Shakespeare thus "put down" his friend, Jonson. A wiser interpretation finds the "purge" in "Satiromastix," which, though not written by Shakespeare, was staged by his company, and therefore with his approval and under his direction as one of the leaders of that company.
The last years of the reign of Elizabeth thus saw Jonson recognised as a dramatist second only to Shakespeare, and not second even to him as a dramatic satirist. But Jonson now turned his talents to new fields. Plays on subjects derived from classical story and myth had held the stage from the beginning of the drama, so that Shakespeare was making no new departure when he wrote his "Julius Caesar" about 1600. Therefore when Jonson staged "Sejanus," three years later and with Shakespeare's company once more, he was only following in the elder dramatist's footsteps. But Jonson's idea of a play on classical history, on the one hand, and Shakespeare's and the elder popular dramatists, on the other, were very different. Heywood some years before had put five straggling plays on the stage in quick succession, all derived from stories in Ovid and dramatised with little taste or discrimination. Shakespeare had a finer conception of form, but even he was contented to take all his ancient history from North's translation of Plutarch and dramatise his subject without further inquiry. Jonson was a scholar and a classical antiquarian. He reprobated this slipshod amateurishness, and wrote his "Sejanus" like a scholar, reading Tacitus, Suetonius, and other authorities, to be certain of his facts, his setting, and his atmosphere, and somewhat pedantically noting his authorities in the margin when he came to print. "Sejanus" is a tragedy of genuine dramatic power in which is told with discriminating taste the story of the haughty favourite of Tiberius with his tragical overthrow. Our drama presents no truer nor more painstaking representation of ancient Roman life than may be found in Jonson's "Sejanus" and "Catiline his Conspiracy," which followed in 1611. A passage in the address of the former play to the reader, in which Jonson refers to a collaboration in an earlier version, has led to the surmise that Shakespeare may have been that "worthier pen." There is no evidence to determine the matter.
In 1605, we find Jonson in active collaboration with Chapman and Marston in the admirable comedy of London life entitled "Eastward Hoe." In the previous year, Marston had dedicated his "Malcontent," in terms of fervid admiration, to Jonson; so that the wounds of the war of the theatres must have been long since healed. Between Jonson and Chapman there was the kinship of similar scholarly ideals. The two continued friends throughout life. "Eastward Hoe" achieved the extraordinary popularity represented in a demand for three issues in one year. But this was not due entirely to the merits of the play. In its earliest version a passage which an irritable courtier conceived to be derogatory to his nation, the Scots, sent both Chapman and Jonson to jail; but the matter was soon patched up, for by this time Jonson had influence at court.
With the accession of King James, Jonson began his long and successful career as a writer of masques. He wrote more masques than all his competitors together, and they are of an extraordinary variety and poetic excellence. Jonson did not invent the masque; for such premeditated devices to set and frame, so to speak, a court ball had been known and practised in varying degrees of elaboration long before his time. But Jonson gave dramatic value to the masque, especially in his invention of the antimasque, a comedy or farcical element of relief, entrusted to professional players or dancers. He enhanced, as well, the beauty and dignity of those portions of the masque in which noble lords and ladies took their parts to create, by their gorgeous costumes and artistic grouping and evolutions, a sumptuous show. On the mechanical and scenic side Jonson had an inventive and ingenious partner in Inigo Jones, the royal architect, who more than any one man raised the standard of stage representation in the England of his day. Jonson continued active in the service of the court in the writing of masques and other entertainments far into the reign of King Charles; but, towards the end, a quarrel with Jones embittered his life, and the two testy old men appear to have become not only a constant irritation to each other, but intolerable bores at court. In "Hymenaei," "The Masque of Queens," "Love Freed from Ignorance," "Lovers made Men," "Pleasure Reconciled to Virtue," and many more will be found Jonson's aptitude, his taste, his poetry and inventiveness in these by-forms of the drama; while in "The Masque of Christmas," and "The Gipsies Metamorphosed" especially, is discoverable that power of broad comedy which, at court as well as in the city, was not the least element of Jonson's contemporary popularity.
But Jonson had by no means given up the popular stage when he turned to the amusement of King James. In 1605 "Volpone" was produced, "The Silent Woman" in 1609, "The Alchemist" in the following year. These comedies, with "Bartholomew Fair," 1614, represent Jonson at his height, and for constructive cleverness, character successfully conceived in the manner of caricature, wit and brilliancy of dialogue, they stand alone in English drama. "Volpone, or the Fox," is, in a sense, a transition play from the dramatic satires of the war of the theatres to the purer comedy represented in the plays named above. Its subject is a struggle of wit applied to chicanery; for among its dramatis personae, from the villainous Fox himself, his rascally servant Mosca, Voltore (the vulture), Corbaccio and Corvino (the big and the little raven), to Sir Politic Would-be and the rest, there is scarcely a virtuous character in the play. Question has been raised as to whether a story so forbidding can be considered a comedy, for, although the plot ends in the discomfiture and imprisonment of the most vicious, it involves no mortal catastrophe. But Jonson was on sound historical ground, for "Volpone" is conceived far more logically on the lines of the ancients' theory of comedy than was ever the romantic drama of Shakespeare, however repulsive we may find a philosophy of life that facilely divides the world into the rogues and their dupes, and, identifying brains with roguery and innocence with folly, admires the former while inconsistently punishing them.
"The Silent Woman" is a gigantic farce of the most ingenious construction. The whole comedy hinges on a huge joke, played by a heartless nephew on his misanthropic uncle, who is induced to take to himself a wife, young, fair, and warranted silent, but who, in the end, turns out neither silent nor a woman at all. In "The Alchemist," again, we have the utmost cleverness in construction, the whole fabric building climax on climax, witty, ingenious, and so plausibly presented that we forget its departures from the possibilities of life. In "The Alchemist" Jonson represented, none the less to the life, certain sharpers of the metropolis, revelling in their shrewdness and rascality and in the variety of the stupidity and wickedness of their victims. We may object to the fact that the only person in the play possessed of a scruple of honesty is discomfited, and that the greatest scoundrel of all is approved in the end and rewarded. The comedy is so admirably written and contrived, the personages stand out with such lifelike distinctness in their several kinds, and the whole is animated with such verve and resourcefulness that "The Alchemist" is a new marvel every time it is read. Lastly of this group comes the tremendous comedy, "Bartholomew Fair," less clear cut, less definite, and less structurally worthy of praise than its three predecessors, but full of the keenest and cleverest of satire and inventive to a degree beyond any English comedy save some other of Jonson's own. It is in "Bartholomew Fair" that we are presented to the immortal caricature of the Puritan, Zeal-in-the-Land Busy, and the Littlewits that group about him, and it is in this extraordinary comedy that the humour of Jonson, always open to this danger, loosens into the Rabelaisian mode that so delighted King James in "The Gipsies Metamorphosed." Another comedy of less merit is "The Devil is an Ass," acted in 1616. It was the failure of this play that caused Jonson to give over writing for the public stage for a period of nearly ten years.
"Volpone" was laid as to scene in Venice. Whether because of the success of "Eastward Hoe" or for other reasons, the other three comedies declare in the words of the prologue to "The Alchemist":
"Our scene is London, 'cause we would make known No country's mirth is better than our own."
Indeed Jonson went further when he came to revise his plays for collected publication in his folio of 1616, he transferred the scene of "Every Man in His Humour" from Florence to London also, converting Signior Lorenzo di Pazzi to Old Kno'well, Prospero to Master Welborn, and Hesperida to Dame Kitely "dwelling i' the Old Jewry."
In his comedies of London life, despite his trend towards caricature, Jonson has shown himself a genuine realist, drawing from the life about him with an experience and insight rare in any generation. A happy comparison has been suggested between Ben Jonson and Charles Dickens. Both were men of the people, lowly born and hardly bred. Each knew the London of his time as few men knew it; and each represented it intimately and in elaborate detail. Both men were at heart moralists, seeking the truth by the exaggerated methods of humour and caricature; perverse, even wrong-headed at times, but possessed of a true pathos and largeness of heart, and when all has been said--though the Elizabethan ran to satire, the Victorian to sentimentality--leaving the world better for the art that they practised in it.
In 1616, the year of the death of Shakespeare, Jonson collected his plays, his poetry, and his masques for publication in a collective edition. This was an unusual thing at the time and had been attempted by no dramatist before Jonson. This volume published, in a carefully revised text, all the plays thus far mentioned, excepting "The Case is Altered," which Jonson did not acknowledge, "Bartholomew Fair," and "The Devil is an Ass," which was written too late. It included likewise a book of some hundred and thirty odd "Epigrams," in which form of brief and pungent writing Jonson was an acknowledged master; "The Forest," a smaller collection of lyric and occasional verse and some ten "Masques" and "Entertainments." In this same year Jonson was made poet laureate with a pension of one hundred marks a year. This, with his fees and returns from several noblemen, and the small earnings of his plays must have formed the bulk of his income. The poet appears to have done certain literary hack-work for others, as, for example, parts of the Punic Wars contributed to Raleigh's "History of the World." We know from a story, little to the credit of either, that Jonson accompanied Raleigh's son abroad in the capacity of a tutor. In 1618 Jonson was granted the reversion of the office of Master of the Revels, a post for which he was peculiarly fitted; but he did not live to enjoy its perquisites. Jonson was honoured with degrees by both universities, though when and under what circumstances is not known. It has been said that he narrowly escaped the honour of knighthood, which the satirists of the day averred King James was wont to lavish with an indiscriminate hand. Worse men were made knights in his day than worthy Ben Jonson.
From 1616 to the close of the reign of King James, Jonson produced nothing for the stage. But he "prosecuted" what he calls "his wonted studies" with such assiduity that he became in reality, as by report, one of the most learned men of his time. Jonson's theory of authorship involved a wide acquaintance with books and "an ability," as he put it, "to convert the substance or riches of another poet to his own use." Accordingly Jonson read not only the Greek and Latin classics down to the lesser writers, but he acquainted himself especially with the Latin writings of his learned contemporaries, their prose as well as their poetry, their antiquities and curious lore as well as their more solid learning. Though a poor man, Jonson was an indefatigable collector of books. He told Drummond that "the Earl of Pembroke sent him 20 pounds every first day of the new year to buy new books." Unhappily, in 1623, his library was destroyed by fire, an accident serio-comically described in his witty poem, "An Execration upon Vulcan." Yet even now a book turns up from time to time in which is inscribed, in fair large Italian lettering, the name, Ben Jonson. With respect to Jonson's use of his material, Dryden said memorably of him: "[He] was not only a professed imitator of Horace, but a learned plagiary of all the others; you track him everywhere in their snow....But he has done his robberies so openly that one sees he fears not to be taxed by any law. He invades authors like a monarch, and what would be theft in other poets is only victory in him." And yet it is but fair to say that Jonson prided himself, and justly, on his originality. In "Catiline," he not only uses Sallust's account of the conspiracy, but he models some of the speeches of Cicero on the Roman orator's actual words. In "Poetaster," he lifts a whole satire out of Horace and dramatises it effectively for his purposes. The sophist Libanius suggests the situation of "The Silent Woman"; a Latin comedy of Giordano Bruno, "Il Candelaio," the relation of the dupes and the sharpers in "The Alchemist," the "Mostellaria" of Plautus, its admirable opening scene. But Jonson commonly bettered his sources, and putting the stamp of his sovereignty on whatever bullion he borrowed made it thenceforward to all time current and his own.
The lyric and especially the occasional poetry of Jonson has a peculiar merit. His theory demanded design and the perfection of literary finish. He was furthest from the rhapsodist and the careless singer of an idle day; and he believed that Apollo could only be worthily served in singing robes and laurel crowned. And yet many of Jonson's lyrics will live as long as the language. Who does not know "Queen and huntress, chaste and fair." "Drink to me only with thine eyes," or "Still to be neat, still to be dressed"? Beautiful in form, deft and graceful in expression, with not a word too much or one that bears not its part in the total effect, there is yet about the lyrics of Jonson a certain stiffness and formality, a suspicion that they were not quite spontaneous and unbidden, but that they were carved, so to speak, with disproportionate labour by a potent man of letters whose habitual thought is on greater things. It is for these reasons that Jonson is even better in the epigram and in occasional verse where rhetorical finish and pointed wit less interfere with the spontaneity and emotion which we usually associate with lyrical poetry. There are no such epitaphs as Ben Jonson's, witness the charming ones on his own children, on Salathiel Pavy, the child-actor, and many more; and this even though the rigid law of mine and thine must now restore to William Browne of Tavistock the famous lines beginning: "Underneath this sable hearse." Jonson is unsurpassed, too, in the difficult poetry of compliment, seldom falling into fulsome praise and disproportionate similitude, yet showing again and again a generous appreciation of worth in others, a discriminating taste and a generous personal regard. There was no man in England of his rank so well known and universally beloved as Ben Jonson. The list of his friends, of those to whom he had written verses, and those who had written verses to him, includes the name of every man of prominence in the England of King James. And the tone of many of these productions discloses an affectionate familiarity that speaks for the amiable personality and sound worth of the laureate. In 1619, growing unwieldy through inactivity, Jonson hit upon the heroic remedy of a journey afoot to Scotland. On his way thither and back he was hospitably received at the houses of many friends and by those to whom his friends had recommended him. When he arrived in Edinburgh, the burgesses met to grant him the freedom of the city, and Drummond, foremost of Scottish poets, was proud to entertain him for weeks as his guest at Hawthornden. Some of the noblest of Jonson's poems were inspired by friendship. Such is the fine "Ode to the memory of Sir Lucius Cary and Sir Henry Moryson," and that admirable piece of critical insight and filial affection, prefixed to the first Shakespeare folio, "To the memory of my beloved master, William Shakespeare, and what he hath left us," to mention only these. Nor can the earlier "Epode," beginning "Not to know vice at all," be matched in stately gravity and gnomic wisdom in its own wise and stately age.
But if Jonson had deserted the stage after the publication of his folio and up to the end of the reign of King James, he was far from inactive; for year after year his inexhaustible inventiveness continued to contribute to the masquing and entertainment at court. In "The Golden Age Restored," Pallas turns the Iron Age with its attendant evils into statues which sink out of sight; in "Pleasure Reconciled to Virtue," Atlas figures represented as an old man, his shoulders covered with snow, and Comus, "the god of cheer or the belly," is one of the characters, a circumstance which an imaginative boy of ten, named John Milton, was not to forget. "Pan's Anniversary," late in the reign of James, proclaimed that Jonson had not yet forgotten how to write exquisite lyrics, and "The Gipsies Metamorphosed" displayed the old drollery and broad humorous stroke still unimpaired and unmatchable. These, too, and the earlier years of Charles were the days of the Apollo Room of the Devil Tavern where Jonson presided, the absolute monarch of English literary Bohemia. We hear of a room blazoned about with Jonson's own judicious "Leges Convivales" in letters of gold, of a company made up of the choicest spirits of the time, devotedly attached to their veteran dictator, his reminiscences, opinions, affections, and enmities. And we hear, too, of valorous potations; but in the words of Herrick addressed to his master, Jonson, at the Devil Tavern, as at the Dog, the Triple Tun, and at the Mermaid,
"We such clusters had
As made us nobly wild, not mad,
And yet each verse of thine
Outdid the meat, outdid the frolic wine."
But the patronage of the court failed in the days of King Charles, though Jonson was not without royal favours; and the old poet returned to the stage, producing, between 1625 and 1633, "The Staple of News," "The New Inn," "The Magnetic Lady," and "The Tale of a Tub," the last doubtless revised from a much earlier comedy. None of these plays met with any marked success, although the scathing generalisation of Dryden that designated them "Jonson's dotages" is unfair to their genuine merits. Thus the idea of an office for the gathering, proper dressing, and promulgation of news (wild flight of the fancy in its time) was an excellent subject for satire on the existing absurdities among newsmongers; although as much can hardly be said for "The Magnetic Lady," who, in her bounty, draws to her personages of differing humours to reconcile them in the end according to the alternative title, or "Humours Reconciled." These last plays of the old dramatist revert to caricature and the hard lines of allegory; the moralist is more than ever present, the satire degenerates into personal lampoon, especially of his sometime friend, Inigo Jones, who appears unworthily to have used his influence at court against the broken-down old poet. And now disease claimed Jonson, and he was bedridden for months. He had succeeded Middleton in 1628 as Chronologer to the City of London, but lost the post for not fulfilling its duties. King Charles befriended him, and even commissioned him to write still for the entertainment of the court; and he was not without the sustaining hand of noble patrons and devoted friends among the younger poets who were proud to be "sealed of the tribe of Ben."
Jonson died, August 6, 1637, and a second folio of his works, which he had been some time gathering, was printed in 1640, bearing in its various parts dates ranging from 1630 to 1642. It included all the plays mentioned in the foregoing paragraphs, excepting "The Case is Altered;" the masques, some fifteen, that date between 1617 and 1630; another collection of lyrics and occasional poetry called "Underwoods, including some further entertainments; a translation of "Horace's Art of Poetry" (also published in a vicesimo quarto in 1640), and certain fragments and ingatherings which the poet would hardly have included himself. These last comprise the fragment (less than seventy lines) of a tragedy called "Mortimer his Fall," and three acts of a pastoral drama of much beauty and poetic spirit, "The Sad Shepherd." There is also the exceedingly interesting "English Grammar" "made by Ben Jonson for the benefit of all strangers out of his observation of the English language now spoken and in use," in Latin and English; and "Timber, or Discoveries" "made upon men and matter as they have flowed out of his daily reading, or had their reflux to his peculiar notion of the times." The "Discoveries," as it is usually called, is a commonplace book such as many literary men have kept, in which their reading was chronicled, passages that took their fancy translated or transcribed, and their passing opinions noted. Many passages of Jonson's "Discoveries" are literal translations from the authors he chanced to be reading, with the reference, noted or not, as the accident of the moment prescribed. At times he follows the line of Macchiavelli's argument as to the nature and conduct of princes; at others he clarifies his own conception of poetry and poets by recourse to Aristotle. He finds a choice paragraph on eloquence in Seneca the elder and applies it to his own recollection of Bacon's power as an orator; and another on facile and ready genius, and translates it, adapting it to his recollection of his fellow-playwright, Shakespeare. To call such passages--which Jonson never intended for publication-- plagiarism, is to obscure the significance of words. To disparage his memory by citing them is a preposterous use of scholarship. Jonson's prose, both in his dramas, in the descriptive comments of his masques, and in the "Discoveries," is characterised by clarity and vigorous directness, nor is it wanting in a fine sense of form or in the subtler graces of diction.
When Jonson died there was a project for a handsome monument to his memory. But the Civil War was at hand, and the project failed. A memorial, not insufficient, was carved on the stone covering his grave in one of the aisles of Westminster Abbey:
"O rare Ben Jonson."
FELIX E. SCHELLING.
THE COLLEGE,
PHILADELPHIA, U.S.A.
The following is a complete list of his published works:--
DRAMAS:
Every Man in his Humour, 4to, 1601;
The Case is Altered, 4to, 1609;
Every Man out of his Humour, 4to, 1600;
Cynthia's Revels, 4to, 1601;
Poetaster, 4to, 1602;
Sejanus, 4to, 1605;
Eastward Ho (with Chapman and Marston), 4to, 1605;
Volpone, 4to, 1607;
Epicoene, or the Silent Woman, 4to, 1609 (?), fol., 1616;
The Alchemist, 4to, 1612;
Catiline, his Conspiracy, 4to, 1611;
Bartholomew Fayre, 4to, 1614 (?), fol., 1631;
The Divell is an Asse, fol., 1631;
The Staple of Newes, fol., 1631;
The New Sun, 8vo, 1631, fol., 1692;
The Magnetic Lady, or Humours Reconcild, fol., 1640;
A Tale of a Tub, fol., 1640;
The Sad Shepherd, or a Tale of Robin Hood, fol., 1641;
Mortimer his Fall (fragment), fol., 1640.
To Jonson have also been attributed additions to Kyd's Jeronymo, and collaboration in The Widow with Fletcher and Middleton, and in the Bloody Brother with Fletcher.
POEMS:
Epigrams, The Forrest, Underwoods, published in fols., 1616, 1640;
Selections: Execration against Vulcan, and Epigrams, 1640;
G. Hor. Flaccus his art of Poetry, Englished by Ben Jonson, 1640;
Leges Convivialis, fol., 1692.
Other minor poems first appeared in Gifford's edition of Works.
PROSE:
Timber, or Discoveries made upon Men and Matter, fol., 1641;
The English Grammar, made by Ben Jonson for the benefit of
Strangers, fol., 1640.
Masques and Entertainments were published in the early folios.
WORKS:
Fol., 1616, volume. 2, 1640 (1631-41);
fol., 1692, 1716-19, 1729;
edited by P. Whalley, 7 volumes., 1756;
by Gifford (with Memoir), 9 volumes., 1816, 1846;
re-edited by F. Cunningham, 3 volumes., 1871;
in 9 volumes., 1875;
by Barry Cornwall (with Memoir), 1838;
by B. Nicholson (Mermaid Series), with Introduction by
C. H. Herford, 1893, etc.;
Nine Plays, 1904;
ed. H. C. Hart (Standard Library), 1906, etc;
Plays and Poems, with Introduction by H. Morley (Universal
Library), 1885;
Plays (7) and Poems (Newnes), 1905;
Poems, with Memoir by H. Bennett (Carlton Classics), 1907;
Masques and Entertainments, ed. by H. Morley, 1890.
SELECTIONS:
J. A. Symonds, with Biographical and Critical Essay,
(Canterbury Poets), 1886;
Grosart, Brave Translunary Things, 1895;
Arber, Jonson Anthology, 1901;
Underwoods, Cambridge University Press, 1905;
Lyrics (Jonson, Beaumont and Fletcher), the Chap Books,
No. 4, 1906;
Songs (from Plays, Masques, etc.), with earliest known
setting, Eragny Press, 1906.
LIFE:
See Memoirs affixed to Works;
J. A. Symonds (English Worthies), 1886;
Notes of Ben Jonson Conversations with Drummond of Hawthornden;
Shakespeare Society, 1842;
ed. with Introduction and Notes by P. Sidney, 1906;
Swinburne, A Study of Ben Jonson, 1889.
***
BEN JONSON'S PLAYS
VOLPONE; OR, THE FOX
BY
BEN JONSON
TO THE MOST NOBLE AND MOST EQUAL SISTERS,
THE TWO FAMOUS UNIVERSITIES,
FOR THEIR LOVE AND ACCEPTANCE SHEWN TO HIS POEM IN THE PRESENTATION,
BEN JONSON,
THE GRATEFUL ACKNOWLEDGER,
DEDICATES BOTH IT AND HIMSELF.
Never, most equal Sisters, had any man a wit so presently excellent, as that it could raise itself; but there must come both matter, occasion, commenders, and favourers to it. If this be true, and that the fortune of all writers doth daily prove it, it behoves the careful to provide well towards these accidents; and, having acquired them, to preserve that part of reputation most tenderly, wherein the benefit of a friend is also defended. Hence is it, that I now render myself grateful, and am studious to justify the bounty of your act; to which, though your mere authority were satisfying, yet it being an age wherein poetry and the professors of it hear so ill on all sides, there will a reason be looked for in the subject. It is certain, nor can it with any forehead be opposed, that the too much license of poetasters in this time, hath much deformed their mistress; that, every day, their manifold and manifest ignorance doth stick unnatural reproaches upon her: but for their petulancy, it were an act of the greatest injustice, either to let the learned suffer, or so divine a skill (which indeed should not be attempted with unclean hands) to fall under the least contempt. For, if men will impartially, and not asquint, look toward the offices and function of a poet, they will easily conclude to themselves the impossibility of any man's being the good poet, without first being a good man. He that is said to be able to inform young men to all good disciplines, inflame grown men to all great virtues, keep old men in their best and supreme state, or, as they decline to childhood, recover them to their first strength; that comes forth the interpreter and arbiter of nature, a teacher of things divine no less than human, a master in manners; and can alone, or with a few, effect the business of mankind: this, I take him, is no subject for pride and ignorance to exercise their railing rhetoric upon. But it will here be hastily answered, that the writers of these days are other things; that not only their manners, but their natures, are inverted, and nothing remaining with them of the dignity of poet, but the abused name, which every scribe usurps; that now, especially in dramatic, or, as they term it, stage-poetry, nothing but ribaldry, profanation, blasphemy, all license of offence to God and man is practised. I dare not deny a great part of this, and am sorry I dare not, because in some men's abortive features (and would they had never boasted the light) it is over-true; but that all are embarked in this bold adventure for hell, is a most uncharitable thought, and, uttered, a more malicious slander. For my particular, I can, and from a most clear conscience, affirm, that I have ever trembled to think toward the least profaneness; have loathed the use of such foul and unwashed bawdry, as is now made the food of the scene: and, howsoever I cannot escape from some, the imputation of sharpness, but that they will say, I have taken a pride, or lust, to be bitter, and not my youngest infant but hath come into the world with all his teeth; I would ask of these supercilious politics, what nation, society, or general order or state, I have provoked? What public person? Whether I have not in all these preserved their dignity, as mine own person, safe? My works are read, allowed, (I speak of those that are intirely mine,) look into them, what broad reproofs have I used? where have I been particular? where personal? except to a mimic, cheater, bawd, or buffoon, creatures, for their insolencies, worthy to be taxed? yet to which of these so pointingly, as he might not either ingenuously have confest, or wisely dissembled his disease? But it is not rumour can make men guilty, much less entitle me to other men's crimes. I know, that nothing can be so innocently writ or carried, but may be made obnoxious to construction; marry, whilst I bear mine innocence about me, I fear it not. Application is now grown a trade with many; and there are that profess to have a key for the decyphering of every thing: but let wise and noble persons take heed how they be too credulous, or give leave to these invading interpreters to be over-familiar with their fames, who cunningly, and often, utter their own virulent malice, under other men's simplest meanings. As for those that will (by faults which charity hath raked up, or common honesty concealed) make themselves a name with the multitude, or, to draw their rude and beastly claps, care not whose living faces they intrench with their petulant styles, may they do it without a rival, for me! I choose rather to live graved in obscurity, than share with them in so preposterous a fame. Nor can I blame the wishes of those severe and wise patriots, who providing the hurts these licentious spirits may do in a state, desire rather to see fools and devils, and those antique relics of barbarism retrieved, with all other ridiculous and exploded follies, than behold the wounds of private men, of princes and nations: for, as Horace makes Trebatius speak among these,
"Sibi quisque timet, quanquam est intactus, et odit."
And men may justly impute such rages, if continued, to the writer, as his sports. The increase of which lust in liberty, together with the present trade of the stage, in all their miscelline interludes, what learned or liberal soul doth not already abhor? where nothing but the filth of the time is uttered, and with such impropriety of phrase, such plenty of solecisms, such dearth of sense, so bold prolepses, so racked metaphors, with brothelry, able to violate the ear of a pagan, and blasphemy, to turn the blood of a Christian to water. I cannot but be serious in a cause of this nature, wherein my fame, and the reputation of divers honest and learned are the question; when a name so full of authority, antiquity, and all great mark, is, through their insolence, become the lowest scorn of the age; and those men subject to the petulancy of every vernaculous orator, that were wont to be the care of kings and happiest monarchs. This it is that hath not only rapt me to present indignation, but made me studious heretofore, and by all my actions, to stand off from them; which may most appear in this my latest work, which you, most learned Arbitresses, have seen, judged, and to my crown, approved; wherein I have laboured for their instruction and amendment, to reduce not only the ancient forms, but manners of the scene, the easiness, the propriety, the innocence, and last, the doctrine, which is the principal end of poesie, to inform men in the best reason of living. And though my catastrophe may, in the strict rigour of comic law, meet with censure, as turning back to my promise; I desire the learned and charitable critic, to have so much faith in me, to think it was done of industry: for, with what ease I could have varied it nearer his scale (but that I fear to boast my own faculty) I could here insert. But my special aim being to put the snaffle in their mouths, that cry out, We never punish vice in our interludes, etc., I took the more liberty; though not without some lines of example, drawn even in the ancients themselves, the goings out of whose comedies are not always joyful, but oft times the bawds, the servants, the rivals, yea, and the masters are mulcted; and fitly, it being the office of a comic poet to imitate justice, and instruct to life, as well as purity of language, or stir up gentle affections; to which I shall take the occasion elsewhere to speak.
For the present, most reverenced Sisters, as I have cared to be thankful for your affections past, and here made the understanding acquainted with some ground of your favours; let me not despair their continuance, to the maturing of some worthier fruits; wherein, if my muses be true to me, I shall raise the despised head of poetry again, and stripping her out of those rotten and base rags wherewith the times have adulterated her form, restore her to her primitive habit, feature, and majesty, and render her worthy to be embraced and kist of all the great and master-spirits of our world. As for the vile and slothful, who never affected an act worthy of celebration, or are so inward with their own vicious natures, as they worthily fear her, and think it an high point of policy to keep her in contempt, with their declamatory and windy invectives; she shall out of just rage incite her servants (who are genus irritabile) to spout ink in their faces, that shall eat farther than their marrow into their fames; and not Cinnamus the barber, with his art, shall be able to take out the brands; but they shall live, and be read, till the wretches die, as things worst deserving of themselves in chief, and then of all mankind.
From my House in the Black-Friars,
this 11th day of February, 1607.
DRAMATIS PERSONAE
VOLPONE, a Magnifico.
MOSCA, his Parasite.
VOLTORE, an Advocate.
CORBACCIO, an old Gentleman.
CORVINO, a Merchant.
BONARIO, son to Corbaccio.
SIR POLITICK WOULD-BE, a Knight.
PEREGRINE, a Gentleman Traveller.
NANO, a Dwarf.
CASTRONE, an Eunuch.
ANDROGYNO, an Hermaphrodite.
GREGE (or Mob).
COMMANDADORI, Officers of Justice.
MERCATORI, three Merchants.
AVOCATORI, four Magistrates.
NOTARIO, the Register.
LADY WOULD-BE, Sir Politick's Wife.
CELIA, Corvino's Wife.
SERVITORI, Servants, two Waiting-women, etc.
SCENE: VENICE.
THE ARGUMENT.
V olpone, childless, rich, feigns sick, despairs,
O ffers his state to hopes of several heirs,
L ies languishing: his parasite receives
P resents of all, assures, deludes; then weaves
O ther cross plots, which ope themselves, are told.
N ew tricks for safety are sought; they thrive: when bold,
E ach tempts the other again, and all are sold.
PROLOGUE.
Now, luck yet sends us, and a little wit
Will serve to make our play hit;
(According to the palates of the season)
Here is rhime, not empty of reason.
This we were bid to credit from our poet,
Whose true scope, if you would know it,
In all his poems still hath been this measure,
To mix profit with your pleasure;
And not as some, whose throats their envy failing,
Cry hoarsely, All he writes is railing:
And when his plays come forth, think they can flout them,
With saying, he was a year about them.
To this there needs no lie, but this his creature,
Which was two months since no feature;
And though he dares give them five lives to mend it,
'Tis known, five weeks fully penn'd it,
From his own hand, without a co-adjutor,
Novice, journey-man, or tutor.
Yet thus much I can give you as a token
Of his play's worth, no eggs are broken,
Nor quaking custards with fierce teeth affrighted,
Wherewith your rout are so delighted;
Nor hales he in a gull old ends reciting,
To stop gaps in his loose writing;
With such a deal of monstrous and forced action,
As might make Bethlem a faction:
Nor made he his play for jests stolen from each table,
But makes jests to fit his fable;
And so presents quick comedy refined,
As best critics have designed;
The laws of time, place, persons he observeth,
From no needful rule he swerveth.
All gall and copperas from his ink he draineth,
Only a little salt remaineth,
Wherewith he'll rub your cheeks, till red, with laughter,
They shall look fresh a week after.
ACT 1. SCENE 1.1.
A ROOM IN VOLPONE'S HOUSE.
ENTER VOLPONE AND MOSCA.
VOLP: Good morning to the day; and next, my gold:
Open the shrine, that I may see my Saint.
[MOSCA WITHDRAWS THE CURTAIN, AND DISCOVERS PILES OF GOLD,
PLATE, JEWELS, ETC.]
Hail the world's soul, and mine! more glad than is
The teeming earth to see the long'd-for sun
Peep through the horns of the celestial Ram,
Am I, to view thy splendour darkening his;
That lying here, amongst my other hoards,
Shew'st like a flame by night; or like the day
Struck out of chaos, when all darkness fled
Unto the centre. O thou son of Sol,
But brighter than thy father, let me kiss,
With adoration, thee, and every relick
Of sacred treasure, in this blessed room.
Well did wise poets, by thy glorious name,
Title that age which they would have the best;
Thou being the best of things: and far transcending
All style of joy, in children, parents, friends,
Or any other waking dream on earth:
Thy looks when they to Venus did ascribe,
They should have given her twenty thousand Cupids;
Such are thy beauties and our loves! Dear saint,
Riches, the dumb God, that giv'st all men tongues;
That canst do nought, and yet mak'st men do all things;
The price of souls; even hell, with thee to boot,
Is made worth heaven. Thou art virtue, fame,
Honour, and all things else. Who can get thee,
He shall be noble, valiant, honest, wise,--
MOS: And what he will, sir. Riches are in fortune A greater good than wisdom is in nature.
VOLP: True, my beloved Mosca. Yet I glory
More in the cunning purchase of my wealth,
Than in the glad possession; since I gain
No common way; I use no trade, no venture;
I wound no earth with plough-shares; fat no beasts,
To feed the shambles; have no mills for iron,
Oil, corn, or men, to grind them into powder:
I blow no subtle glass; expose no ships
To threat'nings of the furrow-faced sea;
I turn no monies in the public bank,
Nor usure private.
MOS: No sir, nor devour
Soft prodigals. You shall have some will swallow
A melting heir as glibly as your Dutch
Will pills of butter, and ne'er purge for it;
Tear forth the fathers of poor families
Out of their beds, and coffin them alive
In some kind clasping prison, where their bones
May be forth-coming, when the flesh is rotten:
But your sweet nature doth abhor these courses;
You lothe the widdow's or the orphan's tears
Should wash your pavements, or their piteous cries
Ring in your roofs, and beat the air for vengeance.
VOLP: Right, Mosca; I do lothe it.
MOS: And besides, sir,
You are not like a thresher that doth stand
With a huge flail, watching a heap of corn,
And, hungry, dares not taste the smallest grain,
But feeds on mallows, and such bitter herbs;
Nor like the merchant, who hath fill'd his vaults
With Romagnia, and rich Candian wines,
Yet drinks the lees of Lombard's vinegar:
You will not lie in straw, whilst moths and worms
Feed on your sumptuous hangings and soft beds;
You know the use of riches, and dare give now
From that bright heap, to me, your poor observer,
Or to your dwarf, or your hermaphrodite,
Your eunuch, or what other household-trifle
Your pleasure allows maintenance.
VOLP: Hold thee, Mosca,
[GIVES HIM MONEY.]
Take of my hand; thou strik'st on truth in all,
And they are envious term thee parasite.
Call forth my dwarf, my eunuch, and my fool,
And let them make me sport.
[EXIT MOS.]
What should I do,
But cocker up my genius, and live free
To all delights my fortune calls me to?
I have no wife, no parent, child, ally,
To give my substance to; but whom I make
Must be my heir: and this makes men observe me:
This draws new clients daily, to my house,
Women and men of every sex and age,
That bring me presents, send me plate, coin, jewels,
With hope that when I die (which they expect
Each greedy minute) it shall then return
Ten-fold upon them; whilst some, covetous
Above the rest, seek to engross me whole,
And counter-work the one unto the other,
Contend in gifts, as they would seem in love:
All which I suffer, playing with their hopes,
And am content to coin them into profit,
To look upon their kindness, and take more,
And look on that; still bearing them in hand,
Letting the cherry knock against their lips,
And draw it by their mouths, and back again.--
How now!
[RE-ENTER MOSCA WITH NANO, ANDROGYNO, AND CASTRONE.]
NAN: Now, room for fresh gamesters, who do will you to know, They do bring you neither play, nor university show; And therefore do entreat you, that whatsoever they rehearse, May not fare a whit the worse, for the false pace of the verse. If you wonder at this, you will wonder more ere we pass, For know, here is inclosed the soul of Pythagoras, That juggler divine, as hereafter shall follow; Which soul, fast and loose, sir, came first from Apollo, And was breath'd into Aethalides; Mercurius his son, Where it had the gift to remember all that ever was done. From thence it fled forth, and made quick transmigration To goldy-lock'd Euphorbus, who was killed in good fashion, At the siege of old Troy, by the cuckold of Sparta. Hermotimus was next (I find it in my charta) To whom it did pass, where no sooner it was missing But with one Pyrrhus of Delos it learn'd to go a fishing; And thence did it enter the sophist of Greece. From Pythagore, she went into a beautiful piece, Hight Aspasia, the meretrix; and the next toss of her Was again of a whore, she became a philosopher, Crates the cynick, as it self doth relate it: Since kings, knights, and beggars, knaves, lords and fools gat it, Besides, ox and ass, camel, mule, goat, and brock, In all which it hath spoke, as in the cobler's cock. But I come not here to discourse of that matter, Or his one, two, or three, or his greath oath, BY QUATER! His musics, his trigon, his golden thigh, Or his telling how elements shift, but I Would ask, how of late thou best suffered translation, And shifted thy coat in these days of reformation.
AND: Like one of the reformed, a fool, as you see, Counting all old doctrine heresy.
NAN: But not on thine own forbid meats hast thou ventured?
AND: On fish, when first a Carthusian I enter'd.
NAN: Why, then thy dogmatical silence hath left thee?
AND: Of that an obstreperous lawyer bereft me.
NAN: O wonderful change, when sir lawyer forsook thee! For Pythagore's sake, what body then took thee?
AND: A good dull mule.
NAN: And how! by that means
Thou wert brought to allow of the eating of beans?
AND: Yes.
NAN: But from the mule into whom didst thou pass?
AND: Into a very strange beast, by some writers call'd an ass; By others, a precise, pure, illuminate brother, Of those devour flesh, and sometimes one another; And will drop you forth a libel, or a sanctified lie, Betwixt every spoonful of a nativity pie.
NAN: Now quit thee, for heaven, of that profane nation; And gently report thy next transmigration.
AND: To the same that I am.
NAN: A creature of delight,
And, what is more than a fool, an hermaphrodite!
Now, prithee, sweet soul, in all thy variation,
Which body would'st thou choose, to keep up thy station?
AND: Troth, this I am in: even here would I tarry.
NAN: 'Cause here the delight of each sex thou canst vary?
AND: Alas, those pleasures be stale and forsaken; No, 'tis your fool wherewith I am so taken, The only one creature that I can call blessed: For all other forms I have proved most distressed.
NAN: Spoke true, as thou wert in Pythagoras still. This learned opinion we celebrate will, Fellow eunuch, as behoves us, with all our wit and art, To dignify that whereof ourselves are so great and special a part.
VOLP: Now, very, very pretty! Mosca, this Was thy invention?
MOS: If it please my patron,
Not else.
VOLP: It doth, good Mosca.
MOS: Then it was, sir.
NANO AND CASTRONE [SING.]: Fools, they are the only nation
Worth men's envy, or admiration:
Free from care or sorrow-taking,
Selves and others merry making:
All they speak or do is sterling.
Your fool he is your great man's darling,
And your ladies' sport and pleasure;
Tongue and bauble are his treasure.
E'en his face begetteth laughter,
And he speaks truth free from slaughter;
He's the grace of every feast,
And sometimes the chiefest guest;
Hath his trencher and his stool,
When wit waits upon the fool:
O, who would not be
He, he, he?
[KNOCKING WITHOUT.]
VOLP: Who's that? Away!
[EXEUNT NANO AND CASTRONE.]
Look, Mosca. Fool, begone!
[EXIT ANDROGYNO.]
MOS: 'Tis Signior Voltore, the advocate; I know him by his knock.
VOLP: Fetch me my gown,
My furs and night-caps; say, my couch is changing,
And let him entertain himself awhile
Without i' the gallery.
[EXIT MOSCA.]
Now, now, my clients
Begin their visitation! Vulture, kite,
Raven, and gorcrow, all my birds of prey,
That think me turning carcase, now they come;
I am not for them yet--
[RE-ENTER MOSCA, WITH THE GOWN, ETC.]
How now! the news?
MOS: A piece of plate, sir.
VOLP: Of what bigness?
MOS: Huge,
Massy, and antique, with your name inscribed,
And arms engraven.
VOLP: Good! and not a fox
Stretch'd on the earth, with fine delusive sleights,
Mocking a gaping crow? ha, Mosca?
MOS: Sharp, sir.
VOLP: Give me my furs.
[PUTS ON HIS SICK DRESS.]
Why dost thou laugh so, man?
MOS: I cannot choose, sir, when I apprehend What thoughts he has without now, as he walks: That this might be the last gift he should give; That this would fetch you; if you died to-day, And gave him all, what he should be to-morrow; What large return would come of all his ventures; How he should worship'd be, and reverenced; Ride with his furs, and foot-cloths; waited on By herds of fools, and clients; have clear way Made for his mule, as letter'd as himself; Be call'd the great and learned advocate: And then concludes, there's nought impossible.
VOLP: Yes, to be learned, Mosca.
MOS: O no: rich
Implies it. Hood an ass with reverend purple,
So you can hide his two ambitious ears,
And he shall pass for a cathedral doctor.
VOLP: My caps, my caps, good Mosca. Fetch him in.
MOS: Stay, sir, your ointment for your eyes.
VOLP: That's true;
Dispatch, dispatch: I long to have possession
Of my new present.
MOS: That, and thousands more,
I hope, to see you lord of.
VOLP: Thanks, kind Mosca.
MOS: And that, when I am lost in blended dust, And hundred such as I am, in succession--
VOLP: Nay, that were too much, Mosca.
MOS: You shall live,
Still, to delude these harpies.
VOLP: Loving Mosca!
'Tis well: my pillow now, and let him enter.
[EXIT MOSCA.]
Now, my fain'd cough, my pthisic, and my gout,
My apoplexy, palsy, and catarrhs,
Help, with your forced functions, this my posture,
Wherein, this three year, I have milk'd their hopes.
He comes; I hear him--Uh! [COUGHING.] uh! uh! uh! O--
[RE-ENTER MOSCA, INTRODUCING VOLTORE, WITH A PIECE OF PLATE.]
MOS: You still are what you were, sir. Only you,
Of all the rest, are he commands his love,
And you do wisely to preserve it thus,
With early visitation, and kind notes
Of your good meaning to him, which, I know,
Cannot but come most grateful. Patron! sir!
Here's signior Voltore is come--
VOLP [FAINTLY.]: What say you?
MOS: Sir, signior Voltore is come this morning To visit you.
VOLP: I thank him.
MOS: And hath brought
A piece of antique plate, bought of St Mark,
With which he here presents you.
VOLP: He is welcome.
Pray him to come more often.
MOS: Yes.
VOLT: What says he?
MOS: He thanks you, and desires you see him often.
VOLP: Mosca.
MOS: My patron!
VOLP: Bring him near, where is he?
I long to feel his hand.
MOS: The plate is here, sir.
VOLT: How fare you, sir?
VOLP: I thank you, signior Voltore;
Where is the plate? mine eyes are bad.
VOLT [PUTTING IT INTO HIS HANDS.]: I'm sorry, To see you still thus weak.
MOS [ASIDE.]: That he's not weaker.
VOLP: You are too munificent.
VOLT: No sir; would to heaven,
I could as well give health to you, as that plate!
VOLP: You give, sir, what you can: I thank you. Your love Hath taste in this, and shall not be unanswer'd: I pray you see me often.
VOLT: Yes, I shall sir.
VOLP: Be not far from me.
MOS: Do you observe that, sir?
VOLP: Hearken unto me still; it will concern you.
MOS: You are a happy man, sir; know your good.
VOLP: I cannot now last long--
MOS: You are his heir, sir.
VOLT: Am I?
VOLP: I feel me going; Uh! uh! uh! uh!
I'm sailing to my port, Uh! uh! uh! uh!
And I am glad I am so near my haven.
MOS: Alas, kind gentleman! Well, we must all go--
VOLT: But, Mosca--
MOS: Age will conquer.
VOLT: 'Pray thee hear me:
Am I inscribed his heir for certain?
MOS: Are you!
I do beseech you, sir, you will vouchsafe
To write me in your family. All my hopes
Depend upon your worship: I am lost,
Except the rising sun do shine on me.
VOLT: It shall both shine, and warm thee, Mosca.
MOS: Sir,
I am a man, that hath not done your love
All the worst offices: here I wear your keys,
See all your coffers and your caskets lock'd,
Keep the poor inventory of your jewels,
Your plate and monies; am your steward, sir.
Husband your goods here.
VOLT: But am I sole heir?
MOS: Without a partner, sir; confirm'd this morning: The wax is warm yet, and the ink scarce dry Upon the parchment.
VOLT: Happy, happy, me!
By what good chance, sweet Mosca?
MOS: Your desert, sir;
I know no second cause.
VOLT: Thy modesty
Is not to know it; well, we shall requite it.
MOS: He ever liked your course sir; that first took him.
I oft have heard him say, how he admired
Men of your large profession, that could speak
To every cause, and things mere contraries,
Till they were hoarse again, yet all be law;
That, with most quick agility, could turn,
And [re-] return; [could] make knots, and undo them;
Give forked counsel; take provoking gold
On either hand, and put it up: these men,
He knew, would thrive with their humility.
And, for his part, he thought he should be blest
To have his heir of such a suffering spirit,
So wise, so grave, of so perplex'd a tongue,
And loud withal, that would not wag, nor scarce
Lie still, without a fee; when every word
Your worship but lets fall, is a chequin!--
[LOUD KNOCKING WITHOUT.]
Who's that? one knocks; I would not have you seen, sir.
And yet--pretend you came, and went in haste:
I'll fashion an excuse.--and, gentle sir,
When you do come to swim in golden lard,
Up to the arms in honey, that your chin
Is born up stiff, with fatness of the flood,
Think on your vassal; but remember me:
I have not been your worst of clients.
VOLT: Mosca!--
MOS: When will you have your inventory brought, sir?
Or see a coppy of the will?--Anon!--
I will bring them to you, sir. Away, be gone,
Put business in your face.
[EXIT VOLTORE.]
VOLP [SPRINGING UP.]: Excellent Mosca!
Come hither, let me kiss thee.
MOS: Keep you still, sir.
Here is Corbaccio.
VOLP: Set the plate away:
The vulture's gone, and the old raven's come!
MOS: Betake you to your silence, and your sleep:
Stand there and multiply.
[PUTTING THE PLATE TO THE REST.]
Now, shall we see
A wretch who is indeed more impotent
Than this can feign to be; yet hopes to hop
Over his grave.--
[ENTER CORBACCIO.]
Signior Corbaccio!
You're very welcome, sir.
CORB: How does your patron?
MOS: Troth, as he did, sir; no amends.
CORB: What! mends he?
MOS: No, sir: he's rather worse.
CORB: That's well. Where is he?
MOS: Upon his couch sir, newly fall'n asleep.
CORB: Does he sleep well?
MOS: No wink, sir, all this night.
Nor yesterday; but slumbers.
CORB: Good! he should take
Some counsel of physicians: I have brought him
An opiate here, from mine own doctor.
MOS: He will not hear of drugs.
CORB: Why? I myself
Stood by while it was made; saw all the ingredients:
And know, it cannot but most gently work:
My life for his, 'tis but to make him sleep.
VOLP [ASIDE.]: Ay, his last sleep, if he would take it.
MOS: Sir,
He has no faith in physic.
CORB: 'Say you? 'say you?
MOS: He has no faith in physic: he does think
Most of your doctors are the greater danger,
And worse disease, to escape. I often have
Heard him protest, that your physician
Should never be his heir.
CORB: Not I his heir?
MOS: Not your physician, sir.
CORB: O, no, no, no,
I do not mean it.
MOS: No, sir, nor their fees
He cannot brook: he says, they flay a man,
Before they kill him.
CORB: Right, I do conceive you.
MOS: And then they do it by experiment; For which the law not only doth absolve them, But gives them great reward: and he is loth To hire his death, so.
CORB: It is true, they kill,
With as much license as a judge.
MOS: Nay, more;
For he but kills, sir, where the law condemns,
And these can kill him too.
CORB: Ay, or me;
Or any man. How does his apoplex?
Is that strong on him still?
MOS: Most violent.
His speech is broken, and his eyes are set,
His face drawn longer than 'twas wont--
CORB: How! how!
Stronger then he was wont?
MOS: No, sir: his face
Drawn longer than 'twas wont.
CORB: O, good!
MOS: His mouth
Is ever gaping, and his eyelids hang.
CORB: Good.
MOS: A freezing numbness stiffens all his joints, And makes the colour of his flesh like lead.
CORB: 'Tis good.
MOS: His pulse beats slow, and dull.
CORB: Good symptoms, still.
MOS: And from his brain--
CORB: I conceive you; good.
MOS: Flows a cold sweat, with a continual rheum, Forth the resolved corners of his eyes.
CORB: Is't possible? yet I am better, ha! How does he, with the swimming of his head?
B: O, sir, 'tis past the scotomy; he now Hath lost his feeling, and hath left to snort: You hardly can perceive him, that he breathes.
CORB: Excellent, excellent! sure I shall outlast him: This makes me young again, a score of years.
MOS: I was a coming for you, sir.
CORB: Has he made his will?
What has he given me?
MOS: No, sir.
CORB: Nothing! ha?
MOS: He has not made his will, sir.
CORB: Oh, oh, oh!
But what did Voltore, the Lawyer, here?
MOS: He smelt a carcase, sir, when he but heard
My master was about his testament;
As I did urge him to it for your good--
CORB: He came unto him, did he? I thought so.
MOS: Yes, and presented him this piece of plate.
CORB: To be his heir?
MOS: I do not know, sir.
CORB: True:
I know it too.
MOS [ASIDE.]: By your own scale, sir.
CORB: Well,
I shall prevent him, yet. See, Mosca, look,
Here, I have brought a bag of bright chequines,
Will quite weigh down his plate.
MOS [TAKING THE BAG.]: Yea, marry, sir. This is true physic, this your sacred medicine, No talk of opiates, to this great elixir!
CORB: 'Tis aurum palpabile, if not potabile.
MOS: It shall be minister'd to him, in his bowl.
CORB: Ay, do, do, do.
MOS: Most blessed cordial!
This will recover him.
CORB: Yes, do, do, do.
MOS: I think it were not best, sir.
CORB: What?
MOS: To recover him.
CORB: O, no, no, no; by no means.
MOS: Why, sir, this
Will work some strange effect, if he but feel it.
CORB: 'Tis true, therefore forbear; I'll take my venture: Give me it again.
MOS: At no hand; pardon me:
You shall not do yourself that wrong, sir. I
Will so advise you, you shall have it all.
CORB: How?
MOS: All, sir; 'tis your right, your own; no man Can claim a part: 'tis yours, without a rival, Decreed by destiny.
CORB: How, how, good Mosca?
MOS: I'll tell you sir. This fit he shall recover.
CORB: I do conceive you.
MOS: And, on first advantage
Of his gain'd sense, will I re-importune him
Unto the making of his testament:
And shew him this.
[POINTING TO THE MONEY.]
CORB: Good, good.
MOS: 'Tis better yet,
If you will hear, sir.
CORB: Yes, with all my heart.
MOS: Now, would I counsel you, make home with speed; There, frame a will; whereto you shall inscribe My master your sole heir.
CORB: And disinherit
My son!
MOS: O, sir, the better: for that colour Shall make it much more taking.
CORB: O, but colour?
MOS: This will sir, you shall send it unto me.
Now, when I come to inforce, as I will do,
Your cares, your watchings, and your many prayers,
Your more than many gifts, your this day's present,
And last, produce your will; where, without thought,
Or least regard, unto your proper issue,
A son so brave, and highly meriting,
The stream of your diverted love hath thrown you
Upon my master, and made him your heir:
He cannot be so stupid, or stone-dead,
But out of conscience, and mere gratitude--
CORB: He must pronounce me his?
MOS: 'Tis true.
CORB: This plot
Did I think on before.
MOS: I do believe it.
CORB: Do you not believe it?
MOS: Yes, sir.
CORB: Mine own project.
MOS: Which, when he hath done, sir.
CORB: Publish'd me his heir?
MOS: And you so certain to survive him--
CORB: Ay.
MOS: Being so lusty a man--
CORB: 'Tis true.
MOS: Yes, sir--
CORB: I thought on that too. See, how he should be The very organ to express my thoughts!
MOS: You have not only done yourself a good--
CORB: But multiplied it on my son.
MOS: 'Tis right, sir.
CORB: Still, my invention.
MOS: 'Las, sir! heaven knows,
It hath been all my study, all my care,
(I e'en grow gray withal,) how to work things--
CORB: I do conceive, sweet Mosca.
MOS: You are he,
For whom I labour here.
CORB: Ay, do, do, do:
I'll straight about it.
[GOING.]
MOS: Rook go with you, raven!
CORB: I know thee honest.
MOS [ASIDE.]: You do lie, sir!
CORB: And--
MOS: Your knowledge is no better than your ears, sir.
CORB: I do not doubt, to be a father to thee.
MOS: Nor I to gull my brother of his blessing.
CORB: I may have my youth restored to me, why not?
MOS: Your worship is a precious ass!
CORB: What say'st thou?
MOS: I do desire your worship to make haste, sir.
CORB: 'Tis done, 'tis done, I go.
[EXIT.]
VOLP [LEAPING FROM HIS COUCH.]: O, I shall burst! Let out my sides, let out my sides--
MOS: Contain
Your flux of laughter, sir: you know this hope
Is such a bait, it covers any hook.
VOLP: O, but thy working, and thy placing it! I cannot hold; good rascal, let me kiss thee: I never knew thee in so rare a humour.
MOS: Alas sir, I but do as I am taught; Follow your grave instructions; give them words; Pour oil into their ears, and send them hence.
VOLP: 'Tis true, 'tis true. What a rare punishment Is avarice to itself!
MOS: Ay, with our help, sir.
VOLP: So many cares, so many maladies,
So many fears attending on old age,
Yea, death so often call'd on, as no wish
Can be more frequent with them, their limbs faint,
Their senses dull, their seeing, hearing, going,
All dead before them; yea, their very teeth,
Their instruments of eating, failing them:
Yet this is reckon'd life! nay, here was one;
Is now gone home, that wishes to live longer!
Feels not his gout, nor palsy; feigns himself
Younger by scores of years, flatters his age
With confident belying it, hopes he may,
With charms, like Aeson, have his youth restored:
And with these thoughts so battens, as if fate
Would be as easily cheated on, as he,
And all turns air!
[KNOCKING WITHIN.]
Who's that there, now? a third?
MOS: Close, to your couch again; I hear his voice: It is Corvino, our spruce merchant.
VOLP [LIES DOWN AS BEFORE.]: Dead.
MOS: Another bout, sir, with your eyes.
[ANOINTING THEM.]
--Who's there?
[ENTER CORVINO.]
Signior Corvino! come most wish'd for! O,
How happy were you, if you knew it, now!
CORV: Why? what? wherein?
MOS: The tardy hour is come, sir.
CORV: He is not dead?
MOS: Not dead, sir, but as good;
He knows no man.
CORV: How shall I do then?
MOS: Why, sir?
CORV: I have brought him here a pearl.
MOS: Perhaps he has
So much remembrance left, as to know you, sir:
He still calls on you; nothing but your name
Is in his mouth: Is your pearl orient, sir?
CORV: Venice was never owner of the like.
VOLP [FAINTLY.]: Signior Corvino.
MOS: Hark.
VOLP: Signior Corvino!
MOS: He calls you; step and give it him.--He's here, sir, And he has brought you a rich pearl.
CORV: How do you, sir?
Tell him, it doubles the twelfth caract.
MOS: Sir,
He cannot understand, his hearing's gone;
And yet it comforts him to see you--
CORV: Say,
I have a diamond for him, too.
MOS: Best shew it, sir;
Put it into his hand; 'tis only there
He apprehends: he has his feeling, yet.
See how he grasps it!
CORV: 'Las, good gentleman!
How pitiful the sight is!
MOS: Tut! forget, sir.
The weeping of an heir should still be laughter
Under a visor.
CORV: Why, am I his heir?
MOS: Sir, I am sworn, I may not shew the will,
Till he be dead; but, here has been Corbaccio,
Here has been Voltore, here were others too,
I cannot number 'em, they were so many;
All gaping here for legacies: but I,
Taking the vantage of his naming you,
"Signior Corvino, Signior Corvino," took
Paper, and pen, and ink, and there I asked him,
Whom he would have his heir? "Corvino." Who
Should be executor? "Corvino." And,
To any question he was silent too,
I still interpreted the nods he made,
Through weakness, for consent: and sent home th' others,
Nothing bequeath'd them, but to cry and curse.
CORV: O, my dear Mosca!
[THEY EMBRACE.]
Does he not perceive us?
MOS: No more than a blind harper. He knows no man, No face of friend, nor name of any servant, Who 'twas that fed him last, or gave him drink: Not those he hath begotten, or brought up, Can he remember.
CORV: Has he children?
MOS: Bastards,
Some dozen, or more, that he begot on beggars,
Gipsies, and Jews, and black-moors, when he was drunk.
Knew you not that, sir? 'tis the common fable.
The dwarf, the fool, the eunuch, are all his;
He's the true father of his family,
In all, save me:--but he has giv'n them nothing.
CORV: That's well, that's well. Art sure he does not hear us?
MOS: Sure, sir! why, look you, credit your own sense.
[SHOUTS IN VOL.'S EAR.]
The pox approach, and add to your diseases,
If it would send you hence the sooner, sir,
For your incontinence, it hath deserv'd it
Thoroughly, and thoroughly, and the plague to boot!--
You may come near, sir.--Would you would once close
Those filthy eyes of yours, that flow with slime,
Like two frog-pits; and those same hanging cheeks,
Cover'd with hide, instead of skin--Nay help, sir--
That look like frozen dish-clouts, set on end!
CORV [ALOUD.]: Or like an old smoked wall, on which the rain Ran down in streaks!
MOS: Excellent! sir, speak out:
You may be louder yet: A culverin
Discharged in his ear would hardly bore it.
CORV: His nose is like a common sewer, still running.
MOS: 'Tis good! And what his mouth?
CORV: A very draught.
MOS: O, stop it up--
CORV: By no means.
MOS: 'Pray you, let me.
Faith I could stifle him, rarely with a pillow,
As well as any woman that should keep him.
CORV: Do as you will: but I'll begone.
MOS: Be so:
It is your presence makes him last so long.
CORV: I pray you, use no violence.
MOS: No, sir! why?
Why should you be thus scrupulous, pray you, sir?
CORV: Nay, at your discretion.
MOS: Well, good sir, begone.
CORV: I will not trouble him now, to take my pearl.
MOS: Puh! nor your diamond. What a needless care Is this afflicts you? Is not all here yours? Am not I here, whom you have made your creature? That owe my being to you?
CORV: Grateful Mosca!
Thou art my friend, my fellow, my companion,
My partner, and shalt share in all my fortunes.
MOS: Excepting one.
CORV: What's that?
MOS: Your gallant wife, sir,--
[EXIT CORV.]
Now is he gone: we had no other means
To shoot him hence, but this.
VOLP: My divine Mosca!
Thou hast to-day outgone thyself.
[KNOCKING WITHIN.]
--Who's there?
I will be troubled with no more. Prepare
Me music, dances, banquets, all delights;
The Turk is not more sensual in his pleasures,
Than will Volpone.
[EXIT MOS.]
Let me see; a pearl!
A diamond! plate! chequines! Good morning's purchase,
Why, this is better than rob churches, yet;
Or fat, by eating, once a month, a man.
[RE-ENTER MOSCA.]
Who is't?
MOS: The beauteous lady Would-be, sir.
Wife to the English knight, Sir Politick Would-be,
(This is the style, sir, is directed me,)
Hath sent to know how you have slept to-night,
And if you would be visited?
VOLP: Not now:
Some three hours hence--
MOS: I told the squire so much.
VOLP: When I am high with mirth and wine; then, then: 'Fore heaven, I wonder at the desperate valour Of the bold English, that they dare let loose Their wives to all encounters!
MOS: Sir, this knight
Had not his name for nothing, he is politick,
And knows, howe'er his wife affect strange airs,
She hath not yet the face to be dishonest:
But had she signior Corvino's wife's face--
VOLP: Has she so rare a face?
MOS: O, sir, the wonder,
The blazing star of Italy! a wench
Of the first year! a beauty ripe as harvest!
Whose skin is whiter than a swan all over,
Than silver, snow, or lilies! a soft lip,
Would tempt you to eternity of kissing!
And flesh that melteth in the touch to blood!
Bright as your gold, and lovely as your gold!
VOLP: Why had not I known this before?
MOS: Alas, sir,
Myself but yesterday discover'd it.
VOLP: How might I see her?
MOS: O, not possible;
She's kept as warily as is your gold;
Never does come abroad, never takes air,
But at a window. All her looks are sweet,
As the first grapes or cherries, and are watch'd
As near as they are.
VOLP: I must see her.
MOS: Sir,
There is a guard of spies ten thick upon her,
All his whole household; each of which is set
Upon his fellow, and have all their charge,
When he goes out, when he comes in, examined.
VOLP: I will go see her, though but at her window.
MOS: In some disguise, then.
VOLP: That is true; I must
Maintain mine own shape still the same: we'll think.
[EXEUNT.]
ACT 2. SCENE 2.1.
ST. MARK'S PLACE; A RETIRED CORNER BEFORE CORVINO'S HOUSE.
ENTER SIR POLITICK WOULD-BE, AND PEREGRINE.
SIR P: Sir, to a wise man, all the world's his soil:
It is not Italy, nor France, nor Europe,
That must bound me, if my fates call me forth.
Yet, I protest, it is no salt desire
Of seeing countries, shifting a religion,
Nor any disaffection to the state
Where I was bred, and unto which I owe
My dearest plots, hath brought me out; much less,
That idle, antique, stale, gray-headed project
Of knowing men's minds, and manners, with Ulysses!
But a peculiar humour of my wife's
Laid for this height of Venice, to observe,
To quote, to learn the language, and so forth--
I hope you travel, sir, with license?
PER: Yes.
SIR P: I dare the safelier converse--How long, sir, Since you left England?
PER: Seven weeks.
SIR P: So lately!
You have not been with my lord ambassador?
PER: Not yet, sir.
SIR P: Pray you, what news, sir, vents our climate? I heard last night a most strange thing reported By some of my lord's followers, and I long To hear how 'twill be seconded.
PER: What was't, sir?
SIR P: Marry, sir, of a raven that should build In a ship royal of the king's.
PER [ASIDE.]: This fellow,
Does he gull me, trow? or is gull'd?
--Your name, sir.
SIR P: My name is Politick Would-be.
PER [ASIDE.]: O, that speaks him.
--A knight, sir?
SIR P: A poor knight, sir.
PER: Your lady
Lies here in Venice, for intelligence
Of tires, and fashions, and behaviour,
Among the courtezans? the fine lady Would-be?
SIR P: Yes, sir; the spider and the bee, ofttimes, Suck from one flower.
PER: Good Sir Politick,
I cry you mercy; I have heard much of you:
'Tis true, sir, of your raven.
SIR P: On your knowledge?
PER: Yes, and your lion's whelping, in the Tower.
SIR P: Another whelp!
PER: Another, sir.
SIR P: Now heaven!
What prodigies be these? The fires at Berwick!
And the new star! these things concurring, strange,
And full of omen! Saw you those meteors?
PER: I did, sir.
SIR P: Fearful! Pray you, sir, confirm me, Were there three porpoises seen above the bridge, As they give out?
PER: Six, and a sturgeon, sir.
SIR P: I am astonish'd.
PER: Nay, sir, be not so;
I'll tell you a greater prodigy than these.
SIR P: What should these things portend?
PER: The very day
(Let me be sure) that I put forth from London,
There was a whale discover'd in the river,
As high as Woolwich, that had waited there,
Few know how many months, for the subversion
Of the Stode fleet.
SIR P: Is't possible? believe it,
'Twas either sent from Spain, or the archdukes:
Spinola's whale, upon my life, my credit!
Will they not leave these projects? Worthy sir,
Some other news.
PER: Faith, Stone the fool is dead;
And they do lack a tavern fool extremely.
SIR P: Is Mass Stone dead?
PER: He's dead sir; why, I hope
You thought him not immortal?
[ASIDE.]
--O, this knight,
Were he well known, would be a precious thing
To fit our English stage: he that should write
But such a fellow, should be thought to feign
Extremely, if not maliciously.
SIR P: Stone dead!
PER: Dead.--Lord! how deeply sir, you apprehend it? He was no kinsman to you?
SIR P: That I know of.
Well! that same fellow was an unknown fool.
PER: And yet you knew him, it seems?
SIR P: I did so. Sir,
I knew him one of the most dangerous heads
Living within the state, and so I held him.
PER: Indeed, sir?
SIR P: While he lived, in action.
He has received weekly intelligence,
Upon my knowledge, out of the Low Countries,
For all parts of the world, in cabbages;
And those dispensed again to ambassadors,
In oranges, musk-melons, apricocks,
Lemons, pome-citrons, and such-like: sometimes
In Colchester oysters, and your Selsey cockles.
PER: You make me wonder.
SIR P: Sir, upon my knowledge.
Nay, I've observed him, at your public ordinary,
Take his advertisement from a traveller
A conceal'd statesman, in a trencher of meat;
And instantly, before the meal was done,
Convey an answer in a tooth-pick.
PER: Strange!
How could this be, sir?
SIR P: Why, the meat was cut
So like his character, and so laid, as he
Must easily read the cipher.
PER: I have heard,
He could not read, sir.
SIR P: So 'twas given out,
In policy, by those that did employ him:
But he could read, and had your languages,
And to't, as sound a noddle--
PER: I have heard, sir,
That your baboons were spies, and that they were
A kind of subtle nation near to China:
SIR P: Ay, ay, your Mamuluchi. Faith, they had
Their hand in a French plot or two; but they
Were so extremely given to women, as
They made discovery of all: yet I
Had my advices here, on Wednesday last.
From one of their own coat, they were return'd,
Made their relations, as the fashion is,
And now stand fair for fresh employment.
PER: 'Heart!
[ASIDE.]
This sir Pol will be ignorant of nothing.
--It seems, sir, you know all?
SIR P: Not all sir, but
I have some general notions. I do love
To note and to observe: though I live out,
Free from the active torrent, yet I'd mark
The currents and the passages of things,
For mine own private use; and know the ebbs,
And flows of state.
PER: Believe it, sir, I hold
Myself in no small tie unto my fortunes,
For casting me thus luckily upon you,
Whose knowledge, if your bounty equal it,
May do me great assistance, in instruction
For my behaviour, and my bearing, which
Is yet so rude and raw.
SIR P: Why, came you forth
Empty of rules, for travel?
PER: Faith, I had
Some common ones, from out that vulgar grammar,
Which he that cried Italian to me, taught me.
SIR P: Why this it is, that spoils all our brave bloods, Trusting our hopeful gentry unto pedants, Fellows of outside, and mere bark. You seem To be a gentleman, of ingenuous race:-- I not profess it, but my fate hath been To be, where I have been consulted with, In this high kind, touching some great men's sons, Persons of blood, and honour.--
[ENTER MOSCA AND NANO DISGUISED, FOLLOWED BY PERSONS WITH MATERIALS FOR ERECTING A STAGE.]
PER: Who be these, sir?
MOS: Under that window, there 't must be. The same.
SIR P: Fellows, to mount a bank. Did your instructor In the dear tongues, never discourse to you Of the Italian mountebanks?
PER: Yes, sir.
SIR P: Why,
Here shall you see one.
PER: They are quacksalvers;
Fellows, that live by venting oils and drugs.
SIR P: Was that the character he gave you of them?
PER: As I remember.
SIR P: Pity his ignorance.
They are the only knowing men of Europe!
Great general scholars, excellent physicians,
Most admired statesmen, profest favourites,
And cabinet counsellors to the greatest princes;
The only languaged men of all the world!
PER: And, I have heard, they are most lewd impostors; Made all of terms and shreds; no less beliers Of great men's favours, than their own vile med'cines; Which they will utter upon monstrous oaths: Selling that drug for two-pence, ere they part, Which they have valued at twelve crowns before.
SIR P: Sir, calumnies are answer'd best with silence. Yourself shall judge.--Who is it mounts, my friends?
MOS: Scoto of Mantua, sir.
SIR P: Is't he? Nay, then
I'll proudly promise, sir, you shall behold
Another man than has been phant'sied to you.
I wonder yet, that he should mount his bank,
Here in this nook, that has been wont t'appear
In face of the Piazza!--Here, he comes.
[ENTER VOLPONE, DISGUISED AS A MOUNTEBANK DOCTOR, AND FOLLOWED BY A CROWD OF PEOPLE.]
VOLP [TO NANO.]: Mount zany.
MOB: Follow, follow, follow, follow!
SIR P: See how the people follow him! he's a man
May write ten thousand crowns in bank here. Note,
[VOLPONE MOUNTS THE STAGE.]
Mark but his gesture:--I do use to observe
The state he keeps in getting up.
PER: 'Tis worth it, sir.
VOLP: Most noble gentlemen, and my worthy patrons! It may seem strange, that I, your Scoto Mantuano, who was ever wont to fix my bank in face of the public Piazza, near the shelter of the Portico to the Procuratia, should now, after eight months' absence from this illustrious city of Venice, humbly retire myself into an obscure nook of the Piazza.
SIR P: Did not I now object the same?
PER: Peace, sir.
VOLP: Let me tell you: I am not, as your Lombard proverb saith, cold on my feet; or content to part with my commodities at a cheaper rate, than I accustomed: look not for it. Nor that the calumnious reports of that impudent detractor, and shame to our profession, (Alessandro Buttone, I mean,) who gave out, in public, I was condemn'd a sforzato to the galleys, for poisoning the cardinal Bembo's--cook, hath at all attached, much less dejected me. No, no, worthy gentlemen; to tell you true, I cannot endure to see the rabble of these ground ciarlitani, that spread their cloaks on the pavement, as if they meant to do feats of activity, and then come in lamely, with their mouldy tales out of Boccacio, like stale Tabarine, the fabulist: some of them discoursing their travels, and of their tedious captivity in the Turks' galleys, when, indeed, were the truth known, they were the Christians' galleys, where very temperately they eat bread, and drunk water, as a wholesome penance, enjoined them by their confessors, for base pilferies.
SIR P: Note but his bearing, and contempt of these.
VOLP: These turdy-facy-nasty-paty-lousy-fartical rogues, with one poor groat's-worth of unprepared antimony, finely wrapt up in several scartoccios, are able, very well, to kill their twenty a week, and play; yet, these meagre, starved spirits, who have half stopt the organs of their minds with earthy oppilations, want not their favourers among your shrivell'd sallad-eating artizans, who are overjoyed that they may have their half-pe'rth of physic; though it purge them into another world, it makes no matter.
SIR P: Excellent! have you heard better language, sir?
VOLP: Well, let them go. And, gentlemen, honourable gentlemen, know, that for this time, our bank, being thus removed from the clamours of the canaglia, shall be the scene of pleasure and delight; for I have nothing to sell, little or nothing to sell.
SIR P: I told you, sir, his end.
PER: You did so, sir.
VOLP: I protest, I, and my six servants, are not able to make of this precious liquor, so fast as it is fetch'd away from my lodging by gentlemen of your city; strangers of the Terra-firma; worshipful merchants; ay, and senators too: who, ever since my arrival, have detained me to their uses, by their splendidous liberalities. And worthily; for, what avails your rich man to have his magazines stuft with moscadelli, or of the purest grape, when his physicians prescribe him, on pain of death, to drink nothing but water cocted with aniseeds? O health! health! the blessing of the rich, the riches of the poor! who can buy thee at too dear a rate, since there is no enjoying this world without thee? Be not then so sparing of your purses, honourable gentlemen, as to abridge the natural course of life--
PER: You see his end.
SIR P: Ay, is't not good?
VOLP: For, when a humid flux, or catarrh, by the mutability of air, falls from your head into an arm or shoulder, or any other part; take you a ducat, or your chequin of gold, and apply to the place affected: see what good effect it can work. No, no, 'tis this blessed unguento, this rare extraction, that hath only power to disperse all malignant humours, that proceed either of hot, cold, moist, or windy causes--
PER: I would he had put in dry too.
SIR P: 'Pray you, observe.
VOLP: To fortify the most indigest and crude stomach, ay, were
it of one, that, through extreme weakness, vomited blood,
applying only a warm napkin to the place, after the unction
and fricace;--for the vertigine in the head, putting but a drop
into your nostrils, likewise behind the ears; a most sovereign
and approved remedy. The mal caduco, cramps, convulsions,
paralysies, epilepsies, tremor-cordia, retired nerves, ill
vapours of the spleen, stopping of the liver, the stone, the
strangury, hernia ventosa, iliaca passio; stops a disenteria
immediately; easeth the torsion of the small guts: and cures
melancholia hypocondriaca, being taken and applied according to
my printed receipt.
[POINTING TO HIS BILL AND HIS VIAL.]
For, this is the physician, this the medicine; this counsels,
this cures; this gives the direction, this works the effect;
and, in sum, both together may be termed an abstract of the
theorick and practick in the Aesculapian art. 'Twill cost you
eight crowns. And,--Zan Fritada, prithee sing a verse extempore
in honour of it.
SIR P: How do you like him, sir?
PER: Most strangely, I!
SIR P: Is not his language rare?
PER: But alchemy,
I never heard the like: or Broughton's books.
NANO [SINGS.]: Had old Hippocrates, or Galen,
That to their books put med'cines all in,
But known this secret, they had never
(Of which they will be guilty ever)
Been murderers of so much paper,
Or wasted many a hurtless taper;
No Indian drug had e'er been famed,
Tabacco, sassafras not named;
Ne yet, of guacum one small stick, sir,
Nor Raymund Lully's great elixir.
Ne had been known the Danish Gonswart,
Or Paracelsus, with his long-sword.
PER: All this, yet, will not do, eight crowns is high.
VOLP: No more.--Gentlemen, if I had but time to discourse to you the miraculous effects of this my oil, surnamed Oglio del Scoto; with the countless catalogue of those I have cured of the aforesaid, and many more diseases; the pattents and privileges of all the princes and commonwealths of Christendom; or but the depositions of those that appeared on my part, before the signiory of the Sanita and most learned College of Physicians; where I was authorised, upon notice taken of the admirable virtues of my medicaments, and mine own excellency in matter of rare and unknown secrets, not only to disperse them publicly in this famous city, but in all the territories, that happily joy under the government of the most pious and magnificent states of Italy. But may some other gallant fellow say, O, there be divers that make profession to have as good, and as experimented receipts as yours: indeed, very many have assayed, like apes, in imitation of that, which is really and essentially in me, to make of this oil; bestowed great cost in furnaces, stills, alembecks, continual fires, and preparation of the ingredients, (as indeed there goes to it six hundred several simples, besides some quantity of human fat, for the conglutination, which we buy