We are one another's wife, ever begetting New births of love; we are father, friends, acquaintance; I am your heir, and you are mine. This place Crave our acquaintance; I might sicken, cousin, Pal. You have made me (I thank you, cousin Arcite) almost wanton With my captivity: what a misery It is to live abroad, and every where! 'Tis like a beast methinks! I find the court here, I'm sure a more content; and all those pleasures, That woo the wills of men to vanity, I see through now; and am sufficient To tell the world, 'tis but a gaudy shadow, [Act ii., Sc. 2.] This scene bears indubitable marks of Fletcher: the two which precede it give strong countenance to the tradition that Shakspeare had a hand in this play. The same judgment may be formed of the death of Arcite, and some other passages, not here given. They have a luxuriance in them which strongly resembles Shakspeare's manner in those parts of his plays where, the progress of the interest being subordinate, the poet was at leisure for description. I might fetch instances from Troilus and Timon. That Fletcher should have copied Shakspeare's manner through so many entire scenes (which is the theory of Mr. Steevens) is not very probable, that he could have done it with such facility is to me not certain. His ideas moved slow; his versification, though sweet, is tedious, it stops every moment; he lays line upon line, making up one after the other, adding image to image so deliberately that we see where they join: Shakspeare mingles every thing, he runs line into line, embarrasses sentences and metaphors; before one idea has burst its shell, another is hatched and clamorous for disclosure. If Fletcher wrote some scenes in imitation, why did he stop? or shall we say that Shakspeare wrote the other scenes in imitation of Fletcher? that he gave Shakspeare a curb and a bridle, and that Shakspeare gave him a pair of spurs: as Blackmore and Lucan are brought in exchanging gifts in the Battle of the Books? THE CITY MADAM: A COMEDY [PUBLISHED 1658: LICENSED 1632]. BY PHILIP MASSINGER [1583-1640] Luke, from a state of indigence and dependence is suddenly raised into immense affluence by a deed of gift of the estates of his brother Sir John Frugal, a merchant, retired from the world. He enters, from taking a survey of his new riches. Luke. "Twas no fantastic object but a truth, I [To the Key. And handled oft, did so transcend belief Compar'd with thee, are shadows, thou the substance My brother made thy place of rest his bosom, A pyramid of flames, and in the roof Fix'd it a glorious star, and made the place To draw in more. [Act iii., Sc. 3.1] The extravagance of the City Madams aping court fashions reprehended. Luke, having come into the possession of his brother Sir John Frugal's estates. Lady, wife to Sir John Frugal, and two daughters, in homely attire. Luke. Save you, sister; I now dare style you so. You were before Such things As they were born and bred there. Why should you ape The fashions of court ladies, whose high titles And pedigrees of long descent give warrant For their superfluous bravery? 'twas monstrous. Lady. Is this spoken In scorn? Luke. Fie, no; with judgment. I make good My promise, and now shew you like yourselves, In your own natural shapes.2 Lady. We acknowledge We have deserv'd ill from you,3 yet despair not, Though we're at your disposure, you'll maintain us [Mermaid Series, ed. Symons, 1887.] 2[Four lines omitted.] In his dependent state they had treated him very cruelly. dependent on him. They are now Luke. "Tis my purpose. Lady. And not make us ridiculous. As fair examples for our proud city dames Your father was An honest country farmer, Goodman Humble, A velvet hood, rich borders, and sometimes A dainty miniver cap, a silver pin Headed with a pearl worth threepence; and thus far You were privileg'd, and no man envied it: It being for the city's honour that There should be distinction between And dignity of London's blessings grew By which you were rais'd (my brother's fond indulgence To buz into your ears, what shape this countess [Three lines omitted.] 2[Four lines.] "[Four lines.] Great lords and ladies feasted, to survey And roses worth a family. You were serv'd Stirr'd not a foot without a coach; and going Your pomp, you were tickled when the beggars cried An absolute princess (since they have no more) To cover the brat's cradle; you in state, Lady. No more, I pray you. Luke. Of this be sure you shall not. Whatever is exorbitant in you, Or in your daughters; and reduce you to I'll cut off Your natural forms and habits; not in revenge Of your base usage of me; but to fright Others by your example. [Act iv., Sc. 4.] This bitter satire against the city women for aping the fashions of the court ladies must have been peculiarly gratifying to the females of the Herbert family and the rest of Massinger's patrons and patronesses. A NEW WAY TO PAY OLD DEBTS. A COMEDY [PUBLISHED 1632: PRODUCED PROBABLY ABOUT 1626] BY PHILIP MASSINGER Overreach (a cruel extortioner), treats about marrying his daughter with Lord Lovell. Over. To my wish we are private. I come not to make offer with my daughter [Two lines omitted.] |