SCENE I. The Street, with the Town-Gate, where an Officer stands with a
Staff like a London Constable.
Enter Harlequin riding in a Calash, comes through the Gate
towards the Stage, dress’d like a Gentleman sitting in it. The
Officer lays hold of his Horse.
Off. Hold, hold, Sir, you I suppose know the Customs that are due to
this City of Naples, from all Persons that pass the Gates in Coach,
Chariot, Calash, or Siege Volant.
Har. I am not ignorant of the Custom, Sir, but what’s that to me.
Off. Not to you, Sir! why, what Privilege have you above the rest?
Har. Privilege, for what, Sir?
Off. Why, for passing, Sir, with any of the before-named Carriages.
Har. Art mad?—Dost not see I am a plain Baker, and this my Cart, that
comes to carry Bread for the Vice-Roy’s, and the City’s Use?—ha.
Off. Are you mad, Sir, to think I cannot see a Gentleman Farmer and a
Calash, from a Baker and a Cart.
Har. Drunk by this Day—and so early too? Oh, you’re a special
Officer? unhand my Horse, Sirrah, or you shall pay for all the Damage
you do me.
Off. Hey Day! here’s a fine Cheat upon the Vice-Roy: Sir, pay me, or
I’ll seize your Horse.
[Har. strikes him. They scuffle a little.
—Nay, and you be so brisk, I’ll call the Clerk from his Office.
[Calls.]—Mr. Clerk, Mr. Clerk.
[Goes to the Entrance to call the Clerk, the mean time Har.
_whips a Frock over himself, and puts down the hind part of the
Chariot, and then ‘tis a Cart.
Enter_ Clerk.
Cler. What’s the matter here?
Off. Here’s a Fellow, Sir, will persuade me, his Calash is a Cart, and
refuses the Customs for passing the Gate.
Cler. A Calash—Where?—I see only a Carter and his Cart.
[The Officer looks on him.
Off. Ha, what a Devil, was I blind?
Har. Mr. Clerk, I am a Baker, that came with Bread to sell, and this
Fellow here has stopt me this Hour, and made me lose the sale of my
Ware; and being drunk, will out-face me I am a Farmer, and this Cart
a Calash.
Cler. He’s in an Error, Friend, pass on.
Har. No, Sir, I’ll have satisfaction first, or the Vice-Roy shall know
how he’s serv’d by drunken Officers, that are a Nuisance to a Civil
Government.
Cler. What do you demand, Friend?
Har. Demand,—I demand a Crown, Sir.
Off. This is very hard—Mr. Clerk—If ever I saw in my Life, I thought
I saw a Gentleman and a Calash.
Cler. Come, come, gratify him, and see better hereafter.
Off. Here, Sir,—if I must, I must. [Gives him a Crown.
Cler. Pass on, Friend.
[Ex. Clerk.
[Har. unseen, puts up the back of his Calash, and whips off
his Frock, and goes to drive on. The Officer looks on him,
and stops him again.
Off. Hum, I’ll swear it is a Calash—Mr. Clerk—Mr. Clerk, come back,
come back.
[Runs out to call him. He changes as before.
Enter Officer and Clerk.
—Come, Sir, let your own Eyes convince you, Sir.
Cler. Convince me, of what, you Sot?
Off. This is a Gentleman, and that a—ha—
[Looks about on Har.
Cler. Stark drunk! Sirrah, if you trouble me at every Mistake of yours
thus, you shall quit your Office.
Off. I beg your Pardon, Sir, I am a little in Drink I confess—a
little blind and mad—Sir,
—This must be the Devil, that’s certain.
[The Clerk goes out.
[Har. puts up his Calash again, and pulls off his Frock
and drives out.
—Well, now to my thinking, ‘tis as plain a Calash again as ever I saw
in my Life, and yet I’m satisfy’d ‘tis nothing but a Cart.
[Ex.
Enter Scaramouch in a Chair, which is set down and open’d
on all sides, and on the top represents an Apothecary’s Shop,
the Inside being painted with Shelves, and rows of Pots and
Bottles; Scaramouch sitting in it dress’d in Black, with a
short black Cloke, a Ruff, and little Hat.
Scar. The Devil’s in’t, if either the Doctor, my Master, or
Mopsophil, know me in this Disguise—And thus I may not only gain my
Mistress, and out-wit Harlequin, but deliver the Ladies those Letters
from their Lovers, which I took out of his Pocket this Morning; and who
wou’d suspect an Apothecary for a Pimp?—Nor can the Jade Mopsophil,
in Honour, refuse a Person of my Gravity, and so well set up.—
[Pointing to his Shop.
—Hum, the Doctor here first, this is not so well, but I’m prepar’d
with Impudence for all Encounters.
Enter the Doctor. Scaramouch salutes him gravely.
—Most Reverend Doctor Baliardo. [Bows.
Doct. Seignior— [Bows.
Scar. I might through great Pusillanimity, blush to give you this
Anxiety, did not I opine you were as gracious as communicative and
eminent; and though you have no Cognisance of me, your humble
Servant,—yet I have of you,—you being so gravely fam’d for your
admirable Skill both in Galenical and Paracelsian Phaenomena’s,
and other approv’d Felicities in Vulnerary Emeticks, and purgative
Experiences.
Doct. Seignior,—your Opinion honours me—rare Man this.
Scar. And though I am at present busied in writing—those few
Observations I have accumulated in my Peregrinations, Sir; yet the
Ambition I aspir’d to, of being an ocular and aurial Witness of your
Singularity, made me trespass on your sublimer Affairs.
Doct. Seignior—
Scar.—Besides a violent Inclination, Sir, of being initiated into the
Denomination of your learned Family, by the Conjugal Circumference of a
Matrimonial Tye, with that singularly accomplish’d Person—Madam, the
Governante of your Hostel—
Doct. Hum—A Sweet-heart for Mopsophil! [Aside.
Scar. And if I may obtain your Condescension to my Hymenaeal
Propositions, I doubt not my Operation with the Fair One.
Doct. Seignior, she’s much honour’d in the Overture, and my Abilities
shall not be wanting to fix the Concord.—But have you been a Traveller,
Sir?
Scar. Without Circumlocutions, Sir, I have seen all the Regions
beneath the Sun and Moon.
Doct. Moon, Sir! You never travell’d thither, Sir?
Scar. Not in Propria Persona, Seignior, but by Speculation, I have,
and made most considerable Remarks on that incomparable Terra Firma,
of which I have the compleatest Map in Christendom—and which Gonzales
himself omitted in his Cosmographia of the Lunar Mundus.
Doct. A Map of the Lunar Mundus, Sir! may I crave the Honour of
seeing it?
Scar. You shall, Sir, together with a Map of Terra Incognita; a
great Rarity, indeed, Sir.
Enter Bellemante.
Doct. Jewels, Sir, worth a King’s Ransom!
Bell. Ha,—What Figure of a Thing have we here, bantering my credulous
Uncle?—This must be some Scout sent from our Forlorn Hope, to
discover the Enemy, and bring in fresh Intelligence.—Hum, that Wink
tipt me some Tidings, and she deserves not a good Look, who understands
not the Language of the Eyes.—Sir, Dinner’s on the Table.
Doct. Let it wait, I am employ’d—
[She creeps to the other side of Scaramouch, who makes
Signs with his Hand to her.
Bell. Ha, ‘tis so:—This Fellow has some Novel for us, some Letter or
Instructions, but how to get it—
[As Scar. talks to the Doctor, he takes the Letters by degrees
out of his Pocket, and unseen, given ‘em Bellemante behind him.
Doct. But this Map, Seignior; I protest you have fill’d me with
Curiosity. Has it signify’d all things so exactly, say you?
Scar. Omitted nothing, Seignior, no City, Town, Village, or Villa;
no Castle, River, Bridge, Lake, Spring, or Mineral.
Doct. Are any, Sir, of those admirable Mineral Waters there, so
frequent in our World?
Scar. In abundance, Sir: the Famous Garamanteen, a young Italian,
Sir, lately come from thence, gives an account of an excellent
Scaturigo, that has lately made an Ebulation there, in great
Reputation with the Lunary Ladies.
Doct. Indeed, Sir! be pleas’d, Seignior, to ‘solve me some Queries
that may enode some appearances of the Virtue of the Water you speak of.
Scar. Pox upon him, what Questions he asks—but I must on. [Aside.]
Why, Sir, you must know,—the Tincture of this Water upon Stagnation
ceruleates, and the Crocus upon the Stones flaveces; this he observes
—to be, Sir, the Indication of a generous Water.
Doct. Hum— [Gravely nodding.
Scar. Now, Sir, be pleas’d to observe the three Regions: if they be
bright, without doubt Mars is powerful; if the middle Region or Camera
be palled, Filia Solis is breeding.
Doct. Hum.
Scar. And then the third Region, if the Faeces be volatile, the Birth
will soon come in Balneo. This I observed also in the Laboratory of
that ingenious Chymist Lysidono, and with much Pleasure animadverted
that Mineral of the same Zenith and Nadir, of that now so famous Water
in England, near that famous Metropolis, call’d Islington.
Doct. Seignior—
Scar. For, Sir, upon the Infusion, the Crows Head immediately procures
the Seal of Hermes; and had not Lac Virginis been too soon suck’d
up, I believe we might have seen the Consummation of Amalgama.
[Bellemante having got her Letters, goes off. She makes Signs
to him to stay a little. He nods.
Doct. Most likely, Sir.
Scar. But, Sir, this Garamanteen relates the strangest Operation of
a Mineral in the Lunar World, that ever I heard of.
Doct. As how, I pray, Sir?
Scar. Why, Sir, a Water impregnated to a Circulation with prima
Materia; upon my Honour, Sir, the strongest I ever drank of.
Doct. How, Sir! did you drink of it?
Scar. I only speak the words of Garamanteen, Sir.
—Pox on him, I shall be trapt. [Aside.
Doct. Cry Mercy, Sir.— [Bows.
Scar. The Lunary Physicians, Sir, call it Urinam Vulcani, it
calybeates every ones Excrements more or less according to the Gradus
of the natural Calor.—To my Knowledge, Sir, a Smith of a very fiery
Constitution is grown very opulent by drinking these Waters.
Doct. How, Sir, grown rich by drinking the Waters, and to your
Knowledge?
Scar. The Devil’s in my Tongue. To my Knowledge, Sir; for what a Man
of Honour relates, I may safely affirm.
Doct. Excuse me, Seignior—
[Puts off his Hat again gravely.
Scar. For, Sir, conceive me how he grew rich! since he drank those
Waters he never buys any Iron, but hammers it out of Stercus Proprius.
Enter Bellemante with a Billet.
Bell. Sir, ‘tis three a Clock, and Dinner will be cold.
[Goes behind Scaramouch, and gives him the Note and goes out.
Doct. I come, Sweet-heart; but this is wonderful.
Scar. Ay, Sir, and if at any time Nature be too infirm, and he prove
Costive, he has no more to do, but apply a Load-stone ad Anum.
Doct. Is’t possible?
Scar. Most true, Sir, and that facilitates the Journey per Viscera.
—But I detain you, Sir;—another time, Sir,—I will now only beg the
Honour of a Word or two with the Governante, before I go.
Doct. Sir, she shall wait on you, and I shall be proud of the Honour
of your Conversation.
[Ex. Doctor.
Enter to him Harlequin, dress’d like a Farmer, as before.
Har. Hum—What have we here, a Taylor or a Tumbler?
Scar. Ha—Who’s this?—Hum—What if it shou’d be the Farmer that the
Doctor has promis’d Mopsophil to? My Heart misgives me.
[They look at each other a while.
Who wou’d you speak with, Friend?
Har. This is, perhaps, my Rival the Apothecary.—Speak with, Sir! why,
what’s that to you?
Scar. Have you Affairs with Seignor Doctor, Sir?
Har. It may be I have, it may be I have not. What then, Sir?
While they seem in angry Dispute, enter Mopsophil.
Mop. Seignior Doctor tells me I have a Lover waits me, sure it must be
the Farmer or the Apothecary. No matter which, so a Lover that welcomest
Man alive. I am resolv’d to take the first good Offer, though but in
revenge of Harlequin and Scaramouch, for putting Tricks upon me.
—Ha,—Two of ‘em!
Scar. My Mistress here!
[They both bow, and advance, putting each other by.
Mop. Hold, Gentlemen,—do not worry me. Which of you wou’d speak
with me?
Both. I, I, I, Madam—
Mop. Both of you?
Both. No, Madam, I, I.
Mop. If both Lovers, you are both welcome; but let’s have fair Play,
and take your turns to speak.
Har. Ay, Seignior, ‘tis most uncivil to interrupt me.
Scar. And disingenuous, Sir, to intrude on me.
[Putting one another by.
Mop. Let me then speak first.
Har. I’m dumb.
Scar. I acquiesce.
Mop. I was inform’d there was a Person here had Propositions of
Marriage to make me.
Har. That’s I, that’s I—
[Shoves Scar. away.
Scar. And I attend to that consequential Finis.
[Shoves Har. away.
Har. I know not what you mean by your Finis, Seignior; but I am come
to offer my self this Gentlewoman’s Servant, her Lover, her Husband, her
Dog in a Halter, or any thing.
Scar. Him I pronounce a Paltroon, and an ignominious Utensil, that
dare lay claim to the renowned Lady of my Primum Mobile; that is, my
best Affections. [In Rage.
Har. I fear not your hard Words, Sir, but dare aloud pronounce, if
Donna Mopsophil like me, the Farmer, as well as I like her, ‘tis a
Match, and my Chariot’s ready at the Gate to bear her off, d’ye see.
Mop. Ah, how that Chariot pleads. [Aside.
Scar. And I pronounce, that being intoxicated with the sweet Eyes of
this refulgent Lady, I come to tender her my noblest Particulars, being
already most advantageously set up with the circumstantial Implements of
my Occupation. [Points to the Shop.
Mop. A City Apothecary, a most genteel Calling—Which shall I chuse?
—Seignior Apothecary, I’ll not expostulate the circumstantial Reasons
that have occasion’d me this Honour.
Scar. Incomparable Lady, the Elegancy of your Repartees most
excellently denotes the Profundity of your Capacity.
Har. What the Devil’s all this? Good Mr. Conjurer, stand by—and don’t
fright the Gentlewoman with your elegant Profundities. [Puts him by.
Scar. How, a Conjurer! I will chastise thy vulgar Ignorance, that
yclepes a Philosopher a Conjurer. [In Rage.
Har. Losaphers!—Prithee, if thou be’st a Man, speak like a Man—then.
Scar. Why, what do I speak like? what do I speak like?
Har. What do you speak like!—why you speak like a Wheel-Barrow.
Scar. How!
Har. And how.
[They come up close together at half Sword Parry; stare on each
other for a while, then put up and bow to each other civilly.
Mop. That’s well, Gentlemen, let’s have all Peace, while I survey you
both, and see which likes me best.
[She goes between ‘em, and surveys ‘em both, they making
ridiculous bows on both sides, and Grimaces the while.
—Ha, now on my Conscience, my two foolish Lovers, Harlequin and
Scaramouch; how are my Hopes defeated?—but, faith, I’ll fit you
both.
[She views ‘em both.
Scar. So she’s considering still, I shall be the happy Dog. [Aside.
Har. She’s taking aim, she cannot chuse but like me best. [Aside.
Scar. Well, Madam, how does my Person propagate?
[Bowing and smiling.
Mop. Faith, Seignior, now I look better on you, I do not like your
Phisnomy so well as your Intellects; you discovering some circumstantial
Symptoms that ever denote a villanous Inconstancy.
Scar. Ah, are you pleas’d, Madam.
Mop. You are mistaken, Seignior. I am displeas’d at your Grey-Eyes,
and black Eye-brows, and Beard; I never knew a Man with those Signs,
true to his Mistress or his Friend. And I wou’d sooner wed that
Scoundrel Scaramouch, that very civil Pimp, that mere pair of chymical
Bellows that blow the Doctor’s projecting Fires, that Deputy-urinal
Shaker, that very Guzman of Salamanca. than a Fellow of your
infallible Signum Mallis.
Har. Ha, ha, ha, you have your Answer, Seignior Friskin—and may shut
up your Shop and be gone.—Ha, ha, ha.
Scar. Hum, sure the Jade knows me. [Aside.
Mop. And as for you, Seignior—
Har. Ha, Madam. [Bowing and smiling.
Mop. Those Lanthorn Jaws of yours, with that most villanous Sneer and
Grin, and a certain fierce Air of your Eyes, looks altogether most
fanatically—which with your notorious Whey Beard, are certain Signs of
Knavery and Cowardice; therefore I’ad rather wed that Spider Harlequin,
that Sceleton Buffoon, that Ape of Man, that Jack of Lent, that very Top,
that’s of no use, but when ‘tis whip’d and lash’d, that piteous Property
I’ad rather wed than thee.
Har. A very fair Declaration.
Mop. You understand me—and so adieu, sweet Glisterpipe, and Seignior
Dirty-Boots, Ha, ha, ha.
[Runs out.
[They stand looking simply on each other, without speaking a while.
Scar. That I shou’d not know that Rogue Harlequin. [Aside.
Har. That I shou’d take this Fool for a Physician. [Aside.
—How long have you commenc’d Apothecary, Seignior?
Scar. Ever since you turn’d Farmer.—Are not you a damn’d Rogue to
put these Tricks upon me, and most dishonourably break all Articles
between us?
Har. And are not you a dam’d Son of a—something—to break Articles
with me?
Scar. No more Words, Sir, no more Words, I find it must come to
Actions, draw. [Draws.
Har. Draw!—so I can draw, Sir. [Draws.
[They make a ridiculous cowardly Fight. Enter the Doctor,
which they seeing, come on with more Courage. He runs between,
and with his Cane beats the Swords down.
Doct. Hold, hold, what mean you, Gentlemen?
Scar. Let me go, Sir, I am provok’d beyond measure, Sir.
Doct. You must excuse me, Seignior.
[Parlies with Harlequin.
Scar. I dare not discover the Fool for his Master’s sake, and it may
spoil our Intrigue anon; besides, he’ll then discover me, and I shall be
discarded for bantering the Doctor. [Aside.
—Man of Honour to be so basely affronted here.
[The Doctor comes to appease Scaramouch.
Har. Shou’d I discover this Rascal, he wou’d tell the old Gentleman I
was the same that attempted his House to day in Woman’s Clothes, and I
should be kick’d and beaten most insatiably.
Scar. What, Seignior, for a Man of Parts to be impos’d upon, and
whip’d through the Lungs here—like a Mountebank’s Zany for sham Cures
—Mr. Doctor, I must tell you ‘tis not civil.
Doct. I am extremely sorry for it, Sir,—and you shall see how I will
have this fellow handled for the Affront to a Person of your Gravity,
and in my House.—Here, Pedro.
Enter Pedro.
—Take this Intruder, or bring some of your Fellows hither, and toss him
in a Blanket.
[Exit Pedro.
[Har. going to creep away, Scar, holds him.
Har. Hark ye, bring me off, or I’ll discover all your Intrigue.
[Aside to him.
Scar. Let me alone.
Doct. I’ll warrant you some Rogue that has some Plot on my Niece and
Daughter.
Scar. No, no, Sir, he comes to impose the grossest Lye upon you, that
ever was heard of.
Enter Pedro with others, with a Blanket. They put Harlequin
into it, and toss him.
Har. Hold, hold, I’ll confess all, rather than indure it.
Doct. Hold, what will you confess, Sir.
[He comes out, makes sick Faces.
Scar.—That he’s the greatest Impostor in Nature. Wou’d you think it,
Sir? he pretends to be no less than an Ambassador from the Emperor of
the Moon, Sir.
Doct. Ha, Ambassador from the Emperor of the Moon!
[Pulls off his Hat.
Scar. Ay, Sir, thereupon I laugh’d, thereupon he grew angry—I laugh’d
at his Resentment, and thereupon we drew, and this was the high Quarrel,
Sir.
Doct. Hum—Ambassador from the Moon. [Pauses.
Scar. I have brought you off, manage him as well as you can.
Har. Brought me off, yes, out of the Frying-pan into the Fire.
Why, how the Devil shall I act an Ambassador? [Aside.
Doct. It must be so, for how shou’d either of these know I expected
that Honour?
[He addresses him with profound Civility to Har.
Sir, if the Figure you make, approaching so near ours of this World,
have made us commit any undecent Indignity to your high Character, you
ought to pardon the Frailty of our mortal Education and Ignorance,
having never before been bless’d with the Descension of any from your
World.
Har. What the Devil shall I say now? [Aside.
—I confess I am, as you may see by my Garb, Sir, a little Incognito,
because the publick Message I bring is very private—which is, that the
mighty Iredonozor, Emperor of the Moon, with his most worthy Brother,
the Prince of Thunderland, intend to sup with you to Night.—Therefore
be sure you get good Wine.—Though by the way let me tell you, ‘tis for
the sake of your fair Daughter.
Scar. I’ll leave the Rogue to his own Management. I presume, by your
whispering, Sir, you wou’d be private, and humbly begging pardon, take
my leave.
[Exit.
Har. You have it, Friend. Does your Niece and Daughter drink, Sir?
Doct. Drink, Sir?
Har. Ay, Sir, drink hard?
Doct. Do the Women of your World drink hard, Sir?
Har. According to their Quality, Sir, more or less; the greater the
Quality, the more profuse the Quantity.
Doct. Why, that’s just as ‘tis here; but your Men of Quality, your
Statesmen, Sir, I presume they are sober, learned, and wise.
Har. Faith, no, Sir; but they are, for the most part, what’s as good,
very proud and promising, Sir, most liberal of their Word to every
fauning Suiter, to purchase the state of long Attendance, and cringing
as they pass; but the Devil of a Performance, without you get the Knack
of bribing in the right Place and Time; but yet they all defy it, Sir.
Doct. Just, just, as ‘tis here.—But pray, Sir, how do these Great men
live with their Wives?
Har. Most nobly, Sir, my Lord keeps his Coach, my Lady hers; my Lord
his Bed, my Lady hers; and very rarely see one another, unless they
chance to meet in a Visit, in the Park, the Mall, the Tour, or at
the Basset-Table, where they civilly salute and part, he to his
Mistress, she to play.
Doct. Good lack! just as ‘tis here.
Har.—Where, if she chance to lose her Money, rather than give out,
she borrows of the next amorous Coxcomb, who, from that Minute, hopes,
and is sure to be paid again one way or other, the next kind
Opportunity.
Doct.—Just as ‘tis here.
Har. As for the young Fellows that have Money, they have no Mercy upon
their own Persons, but wearing Nature off as fast as they can, Swear,
and Whore and Drink, and borrow as long as any Rooking Citizen will lend
till, having dearly purchased the heroick Title of a Bully or a Sharper,
they live pity’d of their Friends, and despis’d by their Whores, and
depart this Transitory World, diverse and sundry ways.
Doct. Just, just as ‘tis here!
Har. As for the Citizen, Sir, the Courtier lies with his Wife; he in
revenge, cheats him of his Estate, till rich enough to marry his
Daughter to a Courtier, again gives him all—unless his Wife’s
over-gallantry breaks him; and thus the World runs round.
Doct. The very same ‘tis here—Is there no preferment, Sir, for Men of
Parts and Merit?
Har. Parts and Merit! what’s that? a Livery, or the handsome tying a
Cravat; for the great Men prefer none but their Foot-men and Valets.
Doct. By my Troth, just as ‘tis here.—Sir, I find you are a Person
of most profound Intelligence—under Favour, Sir, are you a Native of
the Moon, or this World?
Har. The Devil’s in him for hard Questions.
—I am a Neapolitan, Sir?
Doct. Sir, I Honour you; good luck, my Countryman! How got you to the
Region of the Moon, Sir?
Har. A plaguy inquisitive old Fool!
—Why, Sir,
—Pox on’t, what shall I say?
—I being—one day in a musing Melancholy, walking by the Sea-side—
there arose, Sir, a great Mist, by the Sun’s exhaling of the Vapours
of the Earth, Sir.
Doct. Right, Sir.
Har. In this Fog, or Mist, Sir, I was exhal’d.
Doct. The Exhalations of the Sun draw you to the Moon, Sir?
Har. I am condemn’d to the Blanket again.
—I say, Sir, I was exhal’d up, but in my way—being too heavy, was
drop’d into the Sea.
Doct. How, Sir, into the Sea?
Har. The Sea, Sir, where the Emperor’s Fisherman casting his Nets,
drew me up, and took me for a strange and monstrous Fish, Sir,—and as
such, presented me to his Mightiness,—who going to have me Spitchcock’d
for his own eating—
Doct. How, Sir, eating?
Har. What did me I, Sir (Life being sweet) but fall on my Knees, and
besought his Gloriousness not to eat me, for I was no Fish, but a Man;
he ask’d me of what Country, I told him of Naples; whereupon the
Emperor overjoy’d ask’d me if I knew that most reverend and learned
Doctor Baliardo, and his fair Daughter. I told him I did: whereupon
he made me his Bed-fellow, and the Confident to his Amour to Seigniora
Elaria.
Doct. Bless me, Sir! how came the Emperor to know my Daughter?
Har. There he is again with his damn’d hard Questions.
—Know her, Sir,—Why—you were walking abroad one day.
Doct. My Daughter never goes abroad, Sir, farther than our Garden.
Har. Ay, there it was indeed, Sir,—and as his Highness was taking a
Survey of this lower World—through a long Perspective, Sir,—he saw you
and your Daughter and Neice, and from that very moment fell most
desperately in love.—But hark, the sound of Timbrels, Kettle-Drums and
Trumpets.—The Emperor, Sir, is on his way, prepare for his Reception.
[A strange Noise is heard of Brass Kettles, and Pans,
and Bells, and many tinkling things.
Doct. I’m in a Rapture—How shall I pay my Gratitude for this great
Negotiation?—but as I may, I humbly offer, Sir.
[Presents him with a rich Ring and a Purse of Gold.
Har. Sir, as an Honour done the Emperor, I take your Ring and Gold. I
must go meet his Highness.
[Takes leave.
Enter to him Scaramouch, as himself.
Scar. Oh, Sir! we are astonish’d with the dreadful sound of the
sweetest Musick that ever Mortal heard, but know not whence it comes.
Have you not heard it, Sir?
Doct. Heard it, yes, Fool,—’tis the Musick of the Spheres, the
Emperor of the Moon World is descending.
Scar. How, Sir, no marvel then, that looking towards the South, I saw
such splendid Glories in the Air.
Doct. Ha, saw’st thou ought descending in the Air?
Scar. Oh, yes, Sir, Wonders! haste to the old Gallery, whence, with
the help of your Telescope, you may discover all.
Doct. I would not lose a moment for the lower Universe.
Enter Elaria, Bellemante, Mopsophil, dressed in rich Antick Habits.
Ela. Sir, we are dress’d as you commanded us, what is your farther
Pleasure?
Doct. It well becomes the Honour you’re design’d for, this Night to
wed two Princes—come with me and know your happy Fate.
[Ex. Doctor and Scar.
Ela. Bless me! My Father, in all the rest of his Discourse shows so
much Sense and Reason, I cannot think him mad, but feigns all this
to try us.
Bell. Not mad! Marry, Heavens forbid, thou art always creating Fears
to startle one; why, if he be not mad, his want of Sleep this eight and
forty hours, the Noise of strange unheard of Instruments, with the
fantastick Splendour of the unusual Sight, will so turn his Brain and
dazzle him, that in Grace and Goodness, he may be mad, if he be not;—
come, let’s after him to the Gallery, for I long to see in what showing
Equipage our princely Lovers will address to us.
[Exeunt.
Enter Doctor, Elaria, Bellemante, and Mopsophil.
Soft Musick is heard.
Bell. Ha—Heavens! what’s here? what Palace is this?—No part of our
House, I’m sure.
Ela. ‘Tis rather the Apartment of some Monarch.
Doct. I’m all amazement too; but must not show my Ignorance.
—Yes, Elaria, this is prepar’d to entertain two Princes.
Bell. Are you sure on’t, Sir? are we not, think you, in that World
above, I often heard you speak of? in the Moon, Sir?
Doct. How shall I resolve her—For ought I know, we are. [Aside.
Ela. Sure, Sir, ‘tis some Inchantment.
Doct. Let not thy female Ignorance profane the highest Mysteries of
natural Philosophy: To Fools it seems Inchantment—but I’ve a Sense can
reach it—sit and expect the Event.—Hark, I am amaz’d, but must conceal
my Wonder, that Joy of Fools—and appear wise in Gravity.
Bell. Whence comes this charming Sound, Sir?
Doct. From the Spheres—it is familiar to me.
[The Scene in the Front draws off, and shews the Hill of
Parnassus; a noble large Walk of Trees leading to it, with
eight or ten Negroes upon Pedestals, ranged on each side of
the Walks. Next Keplair and Galileus _descend on each side,
opposite to each other, in Chariots, with Perspectives in
their Hands, as viewing the Machine of the Zodiack.
Soft Musick plays still.
Doct. Methought I saw the Figure of two Men descend from yonder Cloud
on yonder Hill.
Ela. I thought so too, but they are disappear’d, and the wing’d
Chariot’s fled.
Enter Keplair and Galileus.
Bell. See, Sir, they approach.
[The Doctor rises and bows.
Kep. Most reverend Sir, we, from the upper World, thus low salute
you—Keplair and Galileus we are call’d, sent as Interpreters to
Great Iredonozor, the Emperor of the Moon, who is descending.
Doct. Most reverend Bards—profound Philosophers—thus low I bow to
pay my humble Gratitude.
Kep. The Emperor, Sir, salutes you, and your fair Daughter.
Gal. And, Sir, the Prince of Thunderland salutes you, and your fair
Neice.
Doct. Thus low I fall to thank their Royal Goodness.
[Kneels. They take him up.
Bell. Came you, most reverend Bards, from the Moon World?
Kep. Most lovely Maid, we did.
Doct. May I presume to ask the manner how?
Kep. By Cloud, Sir, through the Regions of the Air, down to the fam’d
Parnassus; thence by Water, along the River Helicon, the rest by
Post upon two wing’d Eagles.
Doct. Sir, are there store of our World inhabiting the Moon?
Kep. Oh, of all Nations, Sir, that lie beneath it in the Emperor’s
Train! Sir, you will behold abundance; look up and see the Orbal World
descending; observe the Zodiack, Sir, with her twelve Signs.
[Next the Zodiack descends, a Symphony playing all the while;
when it is landed, it delivers the twelve Signs: Then the Song,
the Persons of the Zodiack being the Singers. After which, the
Negroes dance and mingle in the Chorus.
A Song for the Zodiack.
Let murmuring Lovers no longer repine,
But their Hearts and their Voices advance;
Let the Nymphs and the Swains in the kind Chorus join,
And the Satyrs and Fauns in a Dance.
Let Nature put on her Beauty of May,
And the Fields and the Meadows adorn;
Let the Woods and the Mountains resound with the Joy,
And the Echoes their Triumph return.
Chorus.
_For since Love wore his Darts,
And Virgins grew Coy;
Since these wounded Hearts,
And those cou’d destroy,
There ne’er was more Cause for your Triumphs and Joy.
Hark, hark, the Musick of the Spheres,
Some Wonder approaching declares;
Such, such, as has not bless’d your Eyes and Ears
This thousand, thousand, thousand Years.
See, see what the Force of Love can make,
Who rules in Heaven, in Earth and Sea;
Behold how he commands the Zodiack,
While the fixt Signs unhinging all obey.
Not one of which, but represents
The Attributes of Love,
Who governs all the Elements
In Harmony above_.
Chorus.
_For since Love wore his Darts
And Virgins grew coy;
Since these wounded Hearts,
And those cou’d destroy,
There ne’er was more Cause for your Triumphs and Joy.
The wanton Aries first descends,
To show the Vigor and the Play,
Beginning Love, beginning Love attends,
When the young Passion is all-over Joy,
He bleats his soft Pain to the fair curled Throng,
And he leaps, and he bounds, and loves all the day long.
At once Love’s Courage and his Slavery
In_ Taurus is expressed,
Though o’er the Plains the Conqueror be,
The generous Beast
Does to the Yoke submit his noble Breast;
While Gemini smiling and twining of Arms,
Shews Love’s soft Indearments and Charms;
And Cancer’s slow Motion the degrees do express,
Respectful Love arrives to Happiness.
Leo his strength and Majesty,
Virgo her blushing Modesty,
And Libra all his Equity.
His Subtilty does Scorpio show,
And Sagittarius all his loose desire,
By Capricorn his forward Humour know,
And Aqua, Lovers Tears that raise his Fire,
While Pisces, which intwin’d do move,
Shew the soft Play, and wanton Arts of Love.
Chorus.
For since Love wore his Darts,
And Virgins grew coy;
Since these wounded Hearts,
And those you’d destroy,
There ne’er was more Cause for Triumphs and Joy.
—See how she turns, and sends her Signs to Earth.—Behold the Ram,
Aries—see Taurus next descends; then Gemini—see how the Boys
embrace.—Next Cancer, then Leo, then the Virgin; next to her
Libra—Scorpio, Sagittary, Capricorn, Aquarius, Pisces. This eight
thousand Years no Emperor has descended, but Incognito; but when he
does, to make his Journey more magnificent, the Zodiack, Sir,
attends him.
Doct. ‘Tis all amazing, Sir.
Kep. Now, Sir, behold the Globick World descends two thousand Leagues
below its wonted Station, to shew Obedience to its proper Monarch.
[After which, the Globe of the Moon appears, first like
a new Moon, as it moves forward it increases till it comes
to the Full. When it is descended, it opens and shews the
Emperor and the Prince. They come forth with all their Train,
the Flutes playing a Symphony before them, which prepares the
Song. Which ended the Dancers mingle as before.
A SONG.
All Joy to Mortals, Joy and Mirth,
Eternal IO’S sing;
The Gods of Love descend to Earth,
Their Darts have lost the Sting.
The Youth shall now complain no more
Of Sylvia’s _needless Scorn,
But she shall love, if he adore,
And melt when he shall burn.
The Nymph no longer shall be shy,
But leave the jilting Road;
And_ Daphne _now no more shall fly
The wounded panting God;
But all shall be serene and fair,
No sad Complaints of Love
Shall fill the gentle whispering Air,
No echoing Sighs the Grove.
Beneath the Shades young_ Strephon lies,
Of all his Wish possess’d;
Gazing on Sylvia’s charming Eyes,
Whose Soul is there confessed.
All soft and sweet the Maid appears,
With Looks that know no Art,
And though she yields with trembling Fears,
She yields with all her Heart.
—See, Sir, the Cloud of Foreigners appears, French, English, Spaniards,
Danes, Turks, Russians, Indians, and the nearer Climes of Christendom;
and lastly, Sir, behold the mighty Emperor.—
[A Chariot appears, made like a Half Moon, in which is Cinthio
for the Emperor, richly dressed, and Charmante for the Prince,
rich, with a good many Heroes attending. Cinthio’s Train born by
four Cupids. The Song continues while they descend and land. They
address themselves to Elaria and Bellemante.—Doctor falls on his
Face, the rest bow very low as they pass. They make signs to Keplair.
Kep. The Emperor wou’d have you rise, Sir, he will expect no Ceremony
from the Father of his Mistress.
[Takes him up.
Doct. I cannot, Sir, behold his Mightiness—the Splendor of his
Majesty confounds me.
Kep. You must be moderate, Sir, it is expected.
[The two Lovers make all the Signs of Love in dumb show to the
Ladies, while the soft Musick plays again from the end of the Song.
Doct. Shall I not have the Joy to hear their heavenly Voices, Sir?
Kep. They never speak to any Subject, Sir, when they appear in Royalty,
but by Interpreters, and that by way of Stentraphon, in manner of the
Delphick Oracles.
Doct. Any way, so I may hear the Sense of what they wou’d say.
Kep. No doubt you will—But see the Emperor commands by Signs his
Foreigners to dance.
[Soft Musick changes.
[A very Antick Dance. The Dance ended, the Front Scene draws
off, and shows a Temple, with an Altar, one speaking through a
Stentraphon from behind it. Soft Musick plays the while.
Kep. Most Learned Sir, the Emperor now is going to declare himself,
according to his Custom, to his Subjects. Listen.—
Sten. Most Reverend Sir, whose Virtue did incite us,
Whose Daughter’s Charms did more invite us;
We come to grace her with that Honour,
That never Mortal yet had done her;
Once only, Jove was known in Story,
To visit Semele in Glory.
But fatal ‘twas, he so enjoy’d her,
Her own ambitious Flame destroy’d her.
His Charms too fierce for Flesh and Blood,
She dy’d embracing of her God,
We gentler marks of Passion give,
The Maid we love, shall love and live;
Whom visibly we thus will grace,
Above the rest of human Race,
Say, is’t your Will that we shou’d wed her,
And nightly in Disguises bed her?
Doct. The Glory is too great for Mortal Wife.
[Kneels with Transport.
Sten. What then remains, but that we consummate
This happy Marriage in our splendid State?
Doct. Thus low I kneel, in thanks for this great Blessing.
[Cinthio takes Elaria by the Hand; Charmante, Bellemante;
two of the Singers in white being Priests, they lead ‘em to the
Altar, the whole Company dividing on either side. Where, while a
Hymeneal Song is sung, the Priest joins their Hands: The Song
ended, and they marry’d, they come forth; but before they come
forward, two Chariots descend one on one side above, and the other
on the other side; in which is Harlequin dress’d like a Mock Hero,
with others; and Scaramouch in the other, dress’d so in Helmets.
Scar. Stay, mighty Emperor, and vouchsafe to be the Umpire of our
Difference. [Cinthio signs to Keplair.
Kep. What are you?
Scar. Two neighbouring Princes to your vast Dominion.
Har. Knights of the Sun, our honourable Titles,
And fight for that fair Mortal, Mopsophil.
Mop. Bless us!—my two precious Lovers, I’ll warrant; well, I had
better take up with one of them, than lie alone to Night.
Scar. Long as two Rivals we have lov’d and hop’d,
Both equally endeavour’d, and both fail’d.
At last by joint Consent, we both agreed
To try our Titles by the Dint of Lance,
And chose your Mightiness for Arbitrator.
Kep. The Emperor gives Consent.
[They both all arm’d—with gilded Lances and Shields of Black,
with golden Suns painted. The Musick plays a fighting Tune. They
fight at Barriers, to the Tune.—Harlequin is often foil’d, but
advances still; at last Scaramouch throws him, and is Conqueror;
all give Judgment for him.
Kep. The Emperor pronounces you are Victor.— [To Scar.
Doct. Receive your Mistress, Sir, as the Reward of your undoubted
Valour—
[Presents Mopsophil.
Scar. Your humble Servant, Sir, and Scaramouch returns you humble
Thanks. [Puts off his Helmet.
Doct. Ha,—Scaramouch!
[Bawls out, and falls in a Chair. They all go to him.
My Heart misgives me—Oh, I am undone and cheated every way.
[Bawling out.
Kep. Be patient, Sir, and call up all your Virtue,
You’re only cur’d, Sir, of a Disease
That long has reign’d over your nobler Faculties.
Sir, I am your Physician, Friend and Counsellor;
It was not in the Power of Herbs or Minerals,
Of Reason, common Sense, and right Religion,
To draw you from an Error that unmann’d you.
Doct. I will be patient, Gentlemen, and hear you.
—Are not you Ferdinand?
Kep. I am,—and these are Gentlemen of Quality,
That long have lov’d your Daughter and your Niece;
Don Cinthio this, and this is Don Charmante,
The Vice-Roy’s Nephews both.
Who found as Men—’twas impossible to enjoy ‘em,
And therefore try’d this Stratagem.
Cin. Sir, I beseech you, mitigate your Grief,
Although indeed we are but mortal Men,
Yet we shall love you, serve you, and obey you.
Doct. Are not you then the Emperor of the Moon?
And you the Prince of Thunderland?
Cin. There’s no such Person, Sir.
These Stories are the Fantoms of mad Brains,
To puzzle Fools withal—the Wise laugh at ‘em—
Come, Sir, you shall no longer be impos’d upon.
Doct. No Emperor of the Moon, and no Moon World!
Char. Ridiculous Inventions.
If we ‘ad not lov’d you you’ad been still impos’d on;
You had brought a Scandal on your learned Name,
And all succeeding Ages had despis’d it.
[Doct. leaps up.
Doct. Burn all my Books and let my study blaze,
Burn all to Ashes, and be sure the Wind
Scatter the vile contagious monstrous Lyes.
—Most Noble Youths—you’ve honour’d me with your Alliance, and you,
and all your Friends, Assistances in this glorious Miracle, I invite
to Night to revel with me.—Come all and see my happy Recantation of
all the Follies, Fables have inspir’d till now. Be pleasant to repeat
your Story, to tell me by what kind degrees you cozen’d me.
I see there’s nothing in Philosophy— [Gravely to himself.
Of all that writ, he was the wisest Bard, who spoke this mighty Truth—
“He that knew all that ever Learning writ,
Knew only this—that he knew nothing yet.”
[Exeunt.
To be spoken by Mrs. Cooke.
With our old Plays, as with dull Wife it fares,
To whom you have been marry’d tedious Years.
You cry—She’s wondrous good, it is confessed, |
But still ‘tis Chapon Boüillé _at the best; |
That constant Dish can never make a Feast: |
Yet the pall’d Pleasure you must still pursue,
You give so small Incouragement for new;
And who would drudge for such a wretched Age,
Who want the Bravery to support one Stage?
The wiser Wits have now new Measures set,
And taken up new Trades that they may hate.
No more your nice fantastick Pleasures serve,
Your Pimps you pay, but let your Poets starve,
They long in vain for better Usage hop’d,
Till quite undone and tir’d, they dropt and dropt;
Not one is left will write for thin third Day,
Like desperate Pickeroons, no Prize no Pay;
And when they have done their best, the Recompence
Is, Damn the Sot, his Play wants common Sense,
Ill-natured Wits, who can so ill requite
The drudging Slaves, who for your Pleasure write.
Look back on flourishing_ Rome, ye proud Ingrates,
And see how she her thriving Poets treats:
Wisely she priz’d ‘em at the noblest Rate, |
As necessary Ministers of State, |
And Contributions rais’d to make ‘em great. |
They from the publick Bank she did maintain,
And freed from want, they only writ for Fame;
And were as useful in a City held,
As formidable Armies in the Field.
They but a Conquest over Men pursued,
While these by gentle force the Soul subdu’d.
Not Rome in all her happiest Pomp cou’d show |
A greater Caesar than we boast of now; |
Augustus _reigns, but Poets still are low. |
May Caesar live, and while his mighty Hand
Is scattering Plenty over all the Land;
With God-like Bounty recompensing all,
Some fruitful drops may on the Muses fall;
Since honest Pens do his just cause afford
Equal Advantage with the useful Sword_.
p. 7 Dramatis Personae. I have added ‘Page to Bellmour; Page to Lord
Plotwell; Sir Timothy’s Page; Guests; Fiddlers; Ladies.’
p. 12, l. 36 honoured. 1724 ‘honourable’.
p. 13, l. 2 answered the Civility. 1724 ‘answered her the Civility’.
p. 13, l. 23 whats. 1724 ‘what’.
p. 13, l. 26 any thing in Life. 1724 ‘any thing in this Life’.
p. 14, l. 3 God forbid it; 1724 omits ‘it’.
p. 15, l. 11 you speak well. 1724 omits ‘well’.
p. 15, l. 20 Mrs. Celinda Dresswell. Following 4to 1677 and 1724 I
have retained the name Dresswell although it should obviously be
Friendlove. In the first draft Friendlove was called Dresswell, and in
altering the nomenclature of the character Mrs. Behn forgot to make the
change here. The same slip occurs in this same scene (p. 20, l. 23) when
Friendlove is alluded to as Dresswell.
p. 16, l. 2 help. 1724 ‘help’d’.
p. 16, l. 30 me to. 1724 omits ‘to’.
p. 17, l. 9 and Allurements. 1724 omits ‘and’.
p. 19, l. 29 beholding. 1724 ‘beholden’.
p. 19, l. 31 belong’d. 1724 ‘belongs’.
p. 20, l. 6 Murder. 4to 1677 has here the marginal stage direction
’.A Letter’, to remind the prompter to have that property ready for
the immediate entry of Friendlove.
p. 22, l. 4 Exit Sir Tim. 4to 1677 has ‘Ex.’ after ‘Celinda.’ 1724
’.xit’ after ‘Southampton House.’
p. 22, l. 6 Exeunt. I have supplied this stage direction. 4to 1677 has
’.he End of the First Act.’
p. 22, l. 8 A Palace. I have left this quaint locale untouched
although the scene is merely an antechamber in Friendlove’s house,
and can have been no more than a drop cloth.
p. 22, l. 27 Scene II. This Scene is not numbered in the previous
editions but considered as Scene I with the former.
p. 24, l. 10 To-morrow. 1724 as prose. I follow metrical arrangement
of 4to.
p. 26, l. 12 impose. 4to 1677 ‘imposes’.
P. 27, l. 15 Scene III. Sir Timothy’s House. I have supplied the
locale. In all former editions Scenes I and II being counted as one
this is numbered Scene II.
p. 27, l. 16 and Boy. I have added the entrance of the Boy.
p. 28, l. 12 that I am. 4to 1677 omits ‘that’.
p. 28, l. 28 —and where—and where. 1724 reads ‘—and where—’ once.
p. 29, l. 25 Fortunes. 1724 ‘Fortune’.
p. 30, l. 32 Exeunt. 4to 1677 ‘Ex.’ 1724 ‘Exit.’
p. 30, l. 33 Scene IV. Lord Plotwell’s House. I have added the locale.
The former editions, regarding Scenes I and II of this act as one, read
’.cene III.’
p. 34, l. 21 nor one. 1677 ‘nor none’.
p. 37, l. 14 Scene V. ‘Scene IV’ in former editions.
p. 39, l. 34 Exeunt. Not in former editions. 4to 1677 has ‘The End of
the Second Act.’
p. 40, l. 2 A Room in Lord Plotwell’s House. All former editions mark
the locale as ‘The Street.’ But this is obviously wrong from the
sitting, dancing and whole business of the scene.
p. 41, l. 6 Griefs. 1724 ‘Grief.’
p. 41, l. 9 something of disorder. 4to 1677 ‘something in disorder’.
p. 41, l. 24 bear. 4to 1677 ‘bare’.
p. 42, l. 19 Life left. 1724 omits ‘left’.
p. 43, l. 4 plunged in Blood. 1724 ‘plung’d in, in Blood.’
p. 43, l. 5 A Jigg. Not in 1724.
p. 43, l. 19 with all your Faults. 4to 1677 omits ‘your’.
p. 45, l. 4 of it. 4to 1677 ‘on’t’.
p. 47, l. 7 Exeunt. All former editions ‘Exit.’
p. 47, l. 8 Scene II. No former editions number this scene, but read
’.nter Diana, Scene a Bedchamber.’
p. 47, l. 33 unto. 4to 1677 ‘to’.
p. 49, l. 25 Love. 1724 ‘Life’.
p. 50, l. 23 Exit. Not marked in former editions.
p. 50, l. 24 Scene III. A Street. No former editions number this scene.
p. 51, l. 1 Which. 4to 1677 ‘Who’.
p. 54, l. 34 Exeunt. Not in 1724. 4to 1677 adds ‘The End of the Third
Act.’
p. 55, l. 2 Celinda’s Chamber. The locale is unmarked in all former
editions,
p. 57, l. 15 the longed for. 4to 1677 misprints ‘she long’d for’.
p. 59, l. 8 Blessings. 1724 ‘Blessing’.
p. 59, l. 10 Who ere. 1724 ‘When e’er’.
p. 61, l. 11 and who. 1724 ‘and she who’.
p. 62, l. 6 _Scene II. The former editions have not numbered this scene.
p. 62, l. 11 Jenny and Doll. I have supplied the wenches’ names as
given in the Dramatis Personae.
p. 63, l. 1 Garnitures. 1724 ‘Garments’.
p. 64, l. 1 Scene III. I have numbered the scene. Former editions all
read ‘Scene a Chamber, a Table with Box and Dice.’
p. 72, l. 20 Ex. severally. 4to 1677 adds ‘The End of the Fourth Act.’
p. 72, l. 22 Scene I. I have numbered this scene.
p. 76, l. 14 Scene II. Lord Plotwell’s House. There is no scene
division in 4to 1677. I have numbered this scene and added the locale
which is evident from the dialogue.
p. 80, l. 5 Exit. 4to 1677 omits this stage direction.
p. 82, l. 10 Scene III. I have numbered this scene.
p. 82, l. 27 Look on this face. I have metrically arranged this. It is
obviously verse. 4to 1677 and 1724 print as prose.
p. 94, l. 24 written by Mr. E.R. i.e. ‘Mr. Edward Ravenscroft.’
Omitted in 1724.
p. 101 Dramatis Personae. I have added to the list ‘Page to Carlos,
A little Page to the False Count; Wife to Petro.’
p. 106, l. 26 halving. Omitted by 1724,
p. 109, l. 7 hither. Omitted by 1724.
p. 110, l. 36 easier. 4to 1697 and 1724 ‘easilier’.
p. 111, l. 11 Son. 4tos ‘Soul’.
p. 115, l. 28 Huswise. read ‘Huswife’.
p. 116, l. 5 Just-au-corps. 4to 1697 ‘Justicore’.
p. 120, l. 29 He goes out. 1724 ‘Exeunt severally.’
p. 120, l. 30 Scene II_. I have numbered this scene.
p. 121, l. 34 Page holding his lanthorn to his face. Omitted in 1724.
p. 125, l. 20 Going in. 4tos 1682 and 1697 read ‘Goes in.’ But Carlos,
obviously, does not leave the stage at this point.
p. 128, l. 24 Scene III. I have numbered this scene.
p. 131, l. 11 Don Carlos’ house. I have added the locale.
p. 131, l. 26 dear. 1724 ‘dearer’.
p. 135, l. 16 Francisco’s house. I have added the locale.
p. 135, l. 26 should. 1724 ‘shall’.
p. 139, l. 15 not yet. 1724 repeats ‘not yet’.
p. 140, l. 2 froward. 1724 ‘forward’,
p. 143, l. 21 They dance. 4tos add ‘with Don’, which seems unsuitable
as the company are seated.
p. 147, l. 22 Exit Cap. I have added this necessary direction, not in
any previous edition, although all mark his entry again a little later.
p. 152, l. 15 the body of Francisco. 4tos 1682 and 1697. 1724 omits
’.he body of’.
p. 156, l. 29 glout. 1724 ‘glut’.
p. 158, l. 6 Mahometan. 1724 repeats ‘Mahometan’.
p. 158, l. 33 And wou’d not break. These two lines, which are
obviously metrical, all former editions print as prose.
p. 163, l. 19 and Mutes attending. I have added these words as Carlos
addresses the mutes a little later in the scene.
p. 163, l. 21 your. 1724 ‘thy’.
p. 166, l. 13 Sir, I’ll warrant. 1724 omits ‘Sir’.
p. 167, l. 15 that’s the greatest. 1724 omits ‘that’s’.
p. 168, l. 30 Aside. 1724 omits.
p. 177 The Lucky Chance. On the title of the 4to 1687, we have ‘This
may be Printed, April 23, 1686. R.P.’
p. 183, l. 1 To The Right Honourable. This Dedication and the Preface
(p. 185) are only found in the 4to 1687. p. 190 Dramatis Personae.
have added to the list ‘Gingle, a Music Master; A Post-man; Susan,
Servant to Sir Feeble; Phillis, Leticia’s Woman.’
p. 191, l. 20 Enter Mr. Gingle. I have inserted Gingle’s name. All
previous editions read ‘Enter several with Musick.’
p. 194, l. 5 Dudgeon. 4to 1687 ‘Dugion’.
p. 199, l. 13 I have had … Guyneys. These words have by a curiously
gross error been dropped out in all editions save the 4to 1687.
p. 202, l. 30 all but for. 1724 omits ‘but’.
p. 203, l. 10 so, I’ll go. 1724 ‘so, and I’ll go’.
p. 203, l. 27 Then then. All previous editions read ‘Then thou’ which
makes no sense. The emendation, if not what Mrs. Behn wrote, is at least
grammatical.
p. 204, l. 34 this St. Martin’s Trumpery. 1724 ‘these’.
p. 205, l. 4 my Girl. 1724 omits ‘my’.
p. 206, l. 28 of the World. 1724 ‘of the whole World’.
p. 207, l. 30 beholding. 1724 ‘beholden’.
p. 207, l. 36 Aside. 1724 omits.
p. 209, l. 2 look, look how. 1724 ‘look, how’.
p. 209, l. 12 Exeunt. I have supplied this, which does not occur in
previous editions. 4to 1687 has ‘The End of the First Act.’ 1724
gives nothing.
p. 210, l. 3 Livings. 1724 ‘Living’.
p. 216, l. 13 Enter Bellmour. I have placed this entrance here as by
his first speech Bellmour obviously overhears Leticia’s words, ‘Blest be
this kind Retreat’. 1724 places the entrance after ‘Sighs and Tears.’
4to 1687 gives it in a bracket by Leticia’s three lines.
p. 218, l. 9 Let. But how. I have arranged these lines metrically. 4to
1687 and 1724 print as prose.
p. 221, l. 1 Seraglio. 4to 1687 ‘Seraglia’.
p. 222, l. 31 Quonundrum. 4to 1687 ‘Qunnumdrum’.
p. 224, l. 17 Exit. I have supplied this. 1724 gives no direction. 4to
1687 has ‘The End of the Second Act.’
p. 225, ll. 13, 25 Aside. Not in 4to 1687.
p. 226, l. 8 swooned. 4to 1687 ‘swoonded’.
p. 227, l. 9 Aside. Not in 4to 1687.
p. 227, l. 29 Scene II. I have numbered this scene.
p. 227, l. 29 in an undressing. 1724 omits ‘in an’.
p. 228, l. 7 Aside. Omitted in 4to 1687.
p. 228, l. 21 Within. I have supplied this stage direction here and in
Bellmour’s following speech.
p. 229, l. 2 to him. Not in 1724.
p. 229, l. 4 before to morrow. 1724 reads ‘before we go to him
to-morrow.’
p. 229, l. 27 his Safety. 1724 omits ‘his’.
p. 231, l. 3 I’m sorry. I have arranged this metrically. Former
editions as prose.
p. 23l, l. 16 Woman. 4to 1687 ‘Women’. But Pert is alone.
p. 231, l. 22 Want. 1724 misprints ‘Wont’.
p. 234, l. 4 Exit. I have supplied this stage direction.
p. 234, l. 5 Scene V. I have numbered this scene.
p. 234, l. 27 Dick his Boy. Former editions ‘and Boy.’ But Dick’s name
is given in the Dramatis Personae and later in this same scene.
p. 235, l. 11 you know. Omitted by 1724.
p. 237, l. 21 Aside. Former editions wrongly mark this whole speech
’.side’. The last sentence is clearly spoken aloud to Sir Cautious.
p. 238, l. 30 Ad, and. 1724 ‘and and’.
p. 238, l. 32 Exit Dick. I have added this Exit, unmarked in former
editions. Dick obviously does not remain on the stage as his entrance is
marked later.
p. 239, l. 14 Aside, turns. 1724 omits ‘turns’.
p. 240, l. 29 Scene VI. I have numbered this scene.
p. 241, l. 28 Aside. Not in 4to 1687. But marked in 1724.
p. 243, l. 18 Exeunt. This stage direction is in no previous edition.
p. 244, ll. 28-36 I am sorry … Jewel, Sir. Previous editions as
prose.
p. 245, l. 5 Where had … Previous editions print as prose.
p. 246, l. 1 rivell’d. 4to 1687. All later editions ‘shrivel’d’, which
is by no means as good.
p. 246, l. 2 Ladles. 1724 misprints ‘Ladies’,
p. 248, l. 31 amended. 1724 ‘mended’.
p. 249, l. 2 Dinner in. 1724 ‘Dinner at’.
p. 255, l. 27 wou’d but stand. 1724 omits ‘but’.
p. 259, l. 13 Exit. I have added this stage direction. 4to 1687 reads
’.he End of the Fourth Act.’
p. 260, l. 17 Scene II. I have numbered this scene,
p. 263, l. 14 Scene III. 4to and 1724 ‘Scene II.’
p. 264, l. 21 attend. 1724 ‘intend.’
p. 265, l. 31 Soft Musick ceases. I put this stage direction here,
following 4to 1687. 1724 inserts it after the Song, which is not
so well.
p. 266, l. 20 Scene IV. I have numbered this scene.
p. 267, l. 1 Yet you may. I have arranged the whole speech metrically.
1687 prints to ‘April Flow’rs’ as prose. 1724 prints to ‘gather’
as prose.
p. 267, l. 19 Sir. Omitted in 1724.
p. 268, l. 11 But leave. I have arranged metrically. Previous editions
prose.
p. 269, l. 29 With all my Soul. 4to 1687 gives an ‘[Aside’ to Gayman’s
speech. This is an obvious error.
p. 270, l. 12 Scene V. I have numbered this and the two following
scenes.
p. 271, l. 20 he have not. 1724 ‘he has not’.
p. 27l, l. 31 Oh! You. I have arranged metrically. Previous editions
prose.
p. 274, l. 3 Life’s. 4to 1687 ‘Lives’. P. 275, l. 24 Enter Leticia,
Bellmour, and Phillis. I have added this necessary direction which is
in no former edition.
p. 278, l. 20 An After Math. 4to 1687 reads ‘An After Mach’. 1724 ‘An
after Match’. As neither of these forms are found, the 4to seems an
obvious misprint for ‘After Math’.
p. 278, l. 25 whiffling. 1724 ‘whistling’.
p. 286, l. 15 Enter an Actress. Omitted in 4to 1671.
p. 287 Dramatis Personae. I have added to the list ‘Page to Pisaro;
Clergy; Officers;’ and have named Lysette from Act iii, v. 4to 1671
spells Orgulius, Orguilious; Falatius, Falatio; Cleontius, Cleontious in
the Dramatis Personae, but in the text I have spelled these names
throughout following 1724. It may here be noted that the 1671 quarto
swarms with errors and typographical mistakes. It is vilely printed and
seemingly issued from the press almost without revision.
p. 288, l. 2 The Palace. I have added the locale.
p. 289, l. 5 Bravery. 4to 1671. 4to 1690 and 1724 ‘Virtue’.
p. 289, l. 11 Alcippus. 4to 1671 prints ‘Alcip.’ as a speech-prefix.
An obvious blunder.
p. 289, l. 18 Gift. 4to 1671 misreads ‘Guilt’.
p. 290, l. 11 added little. 1724 ‘added a little’.
p. 290, l. 19 hated. 4to 1690 and 1724 ‘hate’.
p. 292, l. 9 who. 4to 1671 ‘whom’.
p. 295, l. 5 pretends. 4to 1671 ‘pretend’.
p. 295, l. 31 thee most fatal proofs. 1724 ‘the most fatal proof’.
p. 296, l. 18 There was so. Following quartos I have printed these
lines (which 1724 gives as prose) metrically, although I confess the
result is not satisfactory.
p. 297, l. 1 Galatea’s Apartments. I have added this locale.
p. 298, l. 9 first. Not in 4to 1671.
p. 298, l. 29 Sighing. Not in 4to 1671.
p. 299, l. 30 Madam, that grief. This speech, which all previous
editions give to Erminia, I have assigned to Aminta. I am, however, not
entirely satisfied that a speech of Galatea’s has not dropped out here
(the first quarto is notoriously careless), and in this case the speech
may well be Erminia’s.
p. 300, l. 14 sworn. 4to 1690 and 1724, which I retain as better than
1671 ‘vow’d’.
p. 300, l. 24 won. 4to 1690 and 1724, which I have preferred to 1671
’.ov’d’.
p. 301, l. 1 A room in the house. I have added this locale.
p. 303, l. 29 and Isil. I have added Isillia’s exit.
p. 303, l. 30 Philanders Apartments. I have added the locale.
p. 305, l. 14 The Representation of the Wedding. This line is not in
1724.
p. 305, l. 15 must be let down … must play. 1724 ‘is let down …
plays.’
p. 305, l. 29 The Palace. I have added this locale.
p. 306, l. 22 th’.lmighty. 4to 1671 ‘i’th’ Almighty’.
p. 307, l. 31 needs. 4to 1671 ‘need’. 1690 ‘needs’t’.
p. 309, l. 1 The Court Gallery. I have added this locale.
p. 309, l. 8 That sad tone. I have followed the quartos in their
metrical arrangement of this speech. 1724 gives it as prose. The same
rule has been observed l.21, ‘Am. Nay thou hast …’
p. 310, l. 31 Not so well. In this speech and also p. 311, l. 1 I
have followed the metrical arrangement of the 4tos. 1724 prints as
prose.
p. 312, l. 9 Ex. 4to 1671 ‘goes out.’
p. 312, l. 13 Exeunt. 4to 1671 ‘go out.’
p. 312, l, 14 ’.is the most. I have followed the two quartos in
their arrangement of these lines, which, none the less, seems far
from satisfactory. 1724 prints as prose.
p. 313, l. 10 Erminia. 4to 1671 omits.
p. 313, l. 28 She weeps. Not in 4to 1671, but in 4to 1690 and in 1724.
p. 313, l. 35 Prince his word. 4to 1690 and 1724 ‘Prince’s word’.
p. 315, l. 10 Thou would’st allow. This is the reading of 4to 1690 and
of 1724. 4to 1671 reads ‘I should allow what I deny thee here.’
p. 316, l. 31 Philander’s Bed-chamber. I have added the locale.
p. 317, l. 25 marry other. 1724 ‘marry any other’.
p. 320, l. 5 an ignorant. This is the reading of the 4tos. I take
’.gnorant’ as the obsolete substantive. 1724 omits ‘an’.
p. 320, l. 9 Enter Lysette. 1724 has ‘Enter a Maid’, but gives speech
prefix ‘Lyc.’, spelling Lysette, Lycette.
p. 320, l. 12 I cry your Lordship’s. I have followed the 4tos in the
metrical arrangement of this speech. 1724 prints as prose.
p. 320, l. 15 She goes in. 1724 ‘She goes out.’
p. 320, l. 21 I fell asleep. So 4tos. 1724 as prose.
p. 321, l. 28 Shepherdess. 4tos and 1724 punctuate ‘Shepherdess,’. It
has been suggested that the passage be punctuated with a full stop at
’.all.’ and continue ‘Ah, cruel’ with the punctuation of former
editions retained.
p. 323, l. 8 he has. 4to 1671 ‘it has’.
p. 323, l. 14 The Court Gallery. I have supplied this locale.
p. 326, l. 21 The apartments of Alcippus. I have supplied this locale.
p. 327, l. 26 And I so strangely. 4to 1671 omits ‘I’.
p. 330, l. 23 The Palace. I have supplied this locale. 1724 misprints
Scene IV.
p. 330, l. 24 as passing by. Omitted by 1724.
p. 331, l. 23 Railly. 1724 prints this speech as prose.
p. 332, l. 29 beholding. 1724 ‘beholden’.
p. 332, l. 32 Fal. That’s too much. Following the 4tos I have arranged
all the speeches of Falatius, which 1724 gives as prose, metrically. The
result is, it must be confessed, not entirely satisfactory in places.
p. 334, l. 25 Farewell. 4tos and 1724 all print ‘For well’.
p. 334, l. 34 Sees Pisaro. 1724 omitting ‘sees’ makes a poor
alteration in the conduct of this business.
p. 335, l. 20 Exit Pis. Former editions simply ‘Exit.’ This confuses
the scene.
p. 335, l. 21 Re-enter Falatius. The 4tos omit this stage direction.
p. 337, l. 7 Galatea’s Apartments. I have supplied the locale.
p, 337, l. 12 you were. 4to 1690 and 1724 ‘you are’.
p. 338, l. 25 must credit you. 4to 1671 ‘faith, I credit you’.
p. 339, l. 4 Erminia, sure you’ll. 4to 1690 and 1724 ‘Erminia sure
will’.
p. 339, l. 14 the fault. 4to 1690 and 1724 ‘my faults’.
p. 340, l. 5 He rises. I have inserted ‘He’ to make the direction
quite clear.
p. 342, l. 5 The Palace. I have added the locale.
p. 343, l. 25 loving me. 4to 1671 prints an unsatisfactory text:
‘none for loving me, for
I’m much unlike Lucinda whom you ey’d.’
p. 344, l. 28 The Apartments of Alcippus. I have added this locale.
p. 344, l. 32 fear’d. 4to 1671 ‘heard’.
p. 347, l. 17 Entering. I have added this stage direction.
p, 347, l. 30 a Chamber. I have inserted the locale.
p. 347, l. 30 in a dishabit. All editions save 4to 1671 read ‘in an
undress’.
p. 349, l. 5 appetites. 1724 ‘appetite’.
p. 349, l. 12 Within. I have supplied this stage direction.
p. 349, l. 20 took. 1724 ‘taken’.
p. 351, l. 34 To Alcip. This and the following stage direction ‘To the
Prince’ are not in 4to 1671.
p. 352, l. 16 vile. 4to 1671 omits.
p. 352, l. 25 or smothers her with a pillow. This is only found in 4to
1671.
p. 353, l. 21 Knew. 4to 1671 ‘know’.
p. 354, l. 6 has. 4to 1671 ‘had’.
p. 354, l. 16 Murder. 4to 1690 and 1724 ‘a Murderer’.
p. 354, l. 29 The Palace. I have supplied the locale.
p. 356, l. 30 merits not. 1724 ‘merits all’. A striking misprint.
p. 357, l. l2 Gonzal. 4to 1671 ‘Gen’rall’.
p. 357, l. 16 You once. 4to 1671 wrongly gives this to the King.
p. 357, l. 19 And should. 4to 1671 omits this whole line.
p. 357, l. 29 Fal. Wert. I have followed the arrangement of 4to 1671
throughout in this scene, which 1724 prints as prose.
p. 358, l. 7 Tiffany. 4to 1690 and 1724 ‘Taffety.’
p. 358, l. 22 Philander’s Apartments. I have supplied this locale.
p. 359, l. 29 Within. I have added this stage direction.
p. 360, l. 27—Gods—. I follow 4tos. 1724 prints these two lines as
prose.
p. 361, l. 36 the World. 1724 ‘that World’.
p. 362, l. 6 smiling to the Princess. 1724 reads ‘Er. who comes out
smiling.’
p. 363, l. 18 Galatea’s Apartments. I have supplied the locale.
p. 365, l. 8 ’.was. 4to 1690 and 1724 ‘twere’.
p. 365, l. 12 The Bedchamber. I have supplied this locale.
p. 365, l. 14 so. 4to 1671 ‘now’.
p. 365, l. 20 Weeps. 4to 1671 only has ‘Weeps.’ 4to 1690 and 1724 give
the stage direction in full.
p. 365, l. 31 Influence. 4to 1671 ‘Influences’ to the ruin of the
metre.
p. 366, l. 6 as touch her. 4to 1690, 1724 ‘to touch her’.
p. 368, l. 8 Princes. 4tos 1671, 1690 read ‘Princess’.
p. 368, l. 14 who goes. 4tos 1671, 1690 ‘and goes’.
p. 368, l. 32 Do. 4to 1671 ‘So’.
p. 369, l. 28 what. 4to 1671 ‘which’.
p. 371, l. 8 The King’s Chamber. I have supplied this locale and that
of the following Scene (IV).
p. 374, l. 28 A Pass or two. Only in 4to 1671.
p. 375, l. 25 Alcip. Might I. Only 4to 1671 gives this speech to
Alcippus. All other editions erroneously continue it as part of
Galatea’s speech.
p. 375, l. 32 My Love. 4to 1671 wrongly ‘Thy love’.
p. 377, l. 13 Ease. 4to 1671 ‘easie’.
p. 381, l. 8 Exeunt. I have supplied this stage direction.
p. 390, l. 1 To The Lord Marquess. The dedication only occurs in 4tos
1687, 1688.
p. 391, l. 6 Billet Doux. 4tos read ‘Billet Deux’—The same form is
found in the Prologue l. 8; but as no other instance of ‘Billet Deux’
occurs I have corrected what is doubtless a misprint.
p. 394, l. 28 Adznigs. 1724, ‘Adzigs’.
p. 395 Dramatis Personae. I have added ‘Page; Florinda, Cousin to
Elaria and Bellemante.’
p. 398, l. 4 otherwise. 1724 ‘otherways’.
p. 399, l. 30 Rosycrusian. 4 to 1687 ‘Rosacrucian.’
p. 400, l. 16 Ma tres chère. 4 to 1687 ‘Matres chear.’ 4to 1688
’.arrois charé.’
p,400, l. 27 tout autour. 4to 1687 ‘tout au toore.’ 4to 1688 ‘tout au
tour.’
p.400, l. 30 sighing. 1724 misprints ‘fighting’.
p.400, l. 9 Cheveux blonds. 4tos ‘Chevave Blond’.
p. 403, l. 30 Sylphs. 4to 1687 ‘Silfs.’
p. 409, l. 13 Scene III. All the former editions have Scene II.
p. 412, l. 21 Enter Doctor. Both 4tos and 1724 omit to mark this
entrance which I have supplied.
p.413, l. 18 Draws. 1724 omits.
p.417, l. 19 The End of the First Act. Only in 4tos 1687, 1688.
p. 417, l. 21 A Chamber. I have added the locale.
p. 418, l. 26 the Street. 1724 ‘a Street.’
p. 418, l. 27 a Flambeaux. This is the reading of both 4tos. 1724 ‘a
Flambeau’. As Sir T. Herbert, Travels (1638), has a plural ‘Flambeauxes’
I have retained ‘Flambeaux’ as a singular here, though no other instance
can be cited.
p. 420, l. 6 Scene III. I have numbered this scene.
p. 420, l. 9 Florinda. I have inserted this name here and as
speech-prefix instead of ‘Lady’. It is supplied by Act ii, II, and
again in this scene.
p. 422, l. 2 Harpsicals. 1724 ‘Harpsicords’.
p. 422, l. 15 Within. I have supplied this stage direction.
p. 424, l. 3 Doct. Hold up. 1724 improperly puts this speech after the
stage direction.
p. 424, l. 8 Harlequin sits still. 4tos ‘He sits still.’
p. 426, ll. 7, 9 Mistriss. 1724 ‘Mrs.’
p. 426, l. 35 Aside, and Exit. ‘Aside’ only in 1724. I have supplied
’.nd exit.’
p. 427, l. 16 Scene IV. I have numbered this scene and supplied the
locale ‘to Bellemante’s Chamber’.
p. 429, l. 6 Scene V. I have numbered this scene.
p. 436, l. 14 The End of the Second Act. Only in 4tos.
p. 438, l. 22 Scene II. I have numbered this scene.
p. 442, l. 5 prima. 4tos misprint ‘Fema’.
p. 453, l. 1 Scene III. The Last. I have numbered this scene. 1724
omits ‘The Last.’
p. 454, l. 3 the Emperor. 1724 omits ‘the’.
p. 456, l. 28 Sagittary. 1724 ‘Sagittar’.
p. 461, l. 32 Gravely to himself. Only in 4tos.
p. 462, l. 19 Pay. 1724 ‘Play.’
p. 462, l. 29 Bank. 1724 ‘Rank’.