Chapter XVII: Introduction (4)

[158] The story here alluded to (for the notice of which I am obliged
to the kindness of Mr Steevens) is to be found in Stubbes's "Anatomie
of Abuses," 1595, p. 43. The reader will excuse the length of the
quotation. "But amongst many other fearful examples of Gods wrath
against pride, I would wish them to set before their eies the fearful
judgment of God showed upon a gentlewoman of Antwerpe of late, even
the 27 of Maie, 1582, the fearful sound whereof is blowne through all
the world, and is yet fresh in every mans memory. This gentlewoman,
being a very rich merchantmans daughter, upon a time was invited to a
bridal or wedding, which was solemnised in that towne, against which
day she made great preparation for the pluming of herself in gorgeous
aray: that as her body was most beautiful, faire, and proper, so her
attire in every respect might be answerable to the same. For the
accomplishment whereof, she curled her haire, she died her lockes, and
laid them out after the best manner: she colloured her face with
waters and ointments; but in no case could she get any (so curious and
dainty she was) that could startch and set her ruffes and neckerchers
to her minde: wherefore she sent for a couple of laundresses, who did
the best they could to please her humors, but in any wise they could
not: then fell she to sweare and teare, to curse and ban, casting the
ruffes under feete, and wishing that the devill might take her when
shee did weare any neckerchers againe. In the meane time (through the
sufferance of God) the devill transforming himselfe into the shape of
a young man, as brave and proper as she in every point, in outward
appearance, came in, faining himself to be a woer or sutor unto her:
and seeing her thus agonized, and in such a pelting chafe, he
demaunded of her the cause thereof, who straight way told him (as
women can conceal nothing that lieth upon their stomacks) how she was
abused in the setting of her ruffes; which thing being heard of him,
he promissed to please her mind, and so tooke in hande the setting of
her ruffes, which he performed to her great contentation and liking;
insomuch as she, looking herselfe in a glasse (as the devill bad her)
became greatly inamoured with him. This done, the young man kissed
her, in the doing whereof, hee writh her neck in sunder, so she dyed
miserably; her body being straight waies changed into blew and black
colours, most ugglesome to beholde, and her face (which before was so
amorous) became most deformed and fearfull to looke upon. This being
knowne in the cittie, great preparation was made for her buriall, and
a rich coffin was provided, and her fearfull body was laid therein,
and covered very sumptuously. Foure men immediately assayed to lift up
the corpes, but could not moove it; then sixe attempted the like, but
could not once stirre it from the place where it stood. Whereat the
standers by marvelling, caused the coffin to be opened to see the
cause thereof: where they found the body to be taken away, and a
blacke catte, very leane and deformed, sitting in the coffin, setting
of great ruffes, and frizling of haire, to the greate feare and
woonder of all the beholders."--_Reed._ [Stubbes was fond of these
examples. Compare "Shakespeare Society's Papers," iv. 71-88.]

[159] _i.e._, During the Court's progress, when the king or queen
visited the different counties.--_Steevens._

[160] _i.e._, Licentiously.

[161] A wine mentioned in the metrical romance of the "Squyr of Low
Degre"--

"Malmesyne,
Both _ypocrasse_ and vernage wine."

--_Steevens._ [See Hazlitt's "Popular Poetry," ii. 51.]

[162] _Shrove Tuesday_ was formerly a holiday for apprentices. So in
Ben Jonson's "Epicæne," act i. sc. 1, it is said of Morose, "he would
have hanged a pewterer's _'prentice_ on a _Shrove Tuesday's_ riot, for
being o' that trade, when the rest were quit."

On _Shrove Tuesday_ in the County of Sussex (and I suppose in many
others) apprentices are always permitted to visit their families or
friends, to eat pancakes, &c. This practice is called _shroving_.
"Apollo Shroving" is the name of an old comedy, written by a
schoolmaster in Suffolk [William Hawkins], to be performed by his
scholars on _Shrove Tuesday_, Feb. 6, 1626-7.

See note 6 to "The Hog hath lost his Pearl," _post_. The custom in
London, I believe, is almost abolished; it is, however, still retained
in many parts of the kingdom. [See "Popular Antiquities of Great
Britain," by Hazlitt, i. 47, where it is said] that "at Newcastle upon
Tyne the great bell of St Nicholas' Church is tolled at twelve o'clock
at noon on this day; shops are immediately shut up, offices closed,
and all kinds of business ceases; a sort of little carnival ensuing
for the remaining part of the day." Again: the custom of frying
pancakes (in turning of which in the pan there is usually a good deal
of pleasantry in the kitchen) is still retained in many families in
the north, but seems, if the present fashionable contempt of old
custom continues, not likely to last another century. The apprentices
whose particular holiday this day is now called, and who are on
several accounts so much interested in the observation of it, ought,
with that watchful jealousy of their ancient rights and liberties
(typified here by pudding and play) which becomes young Englishmen, to
guard against every infringement of its ceremonies, and transmit them
entire and unadulterated to posterity!" [A copious account of this
subject will be found in "Popular Antiquities of Great Britain," i.
37-54.]

[163] [Edits., here and below, _Mal go_.]

[164] [Clotted].

[165] A term of vulgar abuse. So Falstaff says, "Away, you scullion!
you _rampallian_! you fustilarian!"--"2d Part of Henry IV." act ii.
sc. i. See also Mr Steevens's note on the passage.

[166] _i.e._, Cupid. "_The bird-bolt_," Mr Steevens observes (note on
"Much Ado about Nothing," act i. sc. 1), "is a short, thick arrow,
without point, and spreading at the extremity so much as to leave a
flat surface, about the breadth of a shilling. Such are to this day in
use to kill rooks with, and are shot from a cross-bow."

[167] A _passion_ was formerly a name given to love-poems of the
plaintive species. Many of them are preserved in the miscellanies of
the times. See in "England's Helicon," 1600, "The Shepherd Damon's
_Passion_," and others.

[168] [A common form of _Walter_ in old plays and poetry. Joyce
intends, of course, a _jeu-de-mot_.]

[169] [This passage seems to fix with tolerable clearness the meaning
of the word _caroch_ and the kind of vehicle which was intended.
Compare Nares, 1859, in _v._]

[170] [_i.e._, This business succeed.]

[171] This street, Stow observes, in his time, was inhabited by
wealthy drapers, retailers of woollen cloths, both broad and narrow,
of all sorts, more than any one of the city.

[172] "_Dole_ was the term for the allowance of provision given to the
poor in great families" (Mr Steevens's note to "The Winter's Tale,"
act i. sc. 1). See also the notes of Sir John Hawkins and Mr Steevens
to "The First Part of King Henry IV.," act ii. sc. 2. Of this kind of
charily we have yet some remains, particularly, as Dr Ducarel
observes, "at Lambeth Palace, where thirty poor persons are relieved
by an alms called the DOLE, which is given three times a week to ten
persons at a time, alternately; each person then receiving upwards of
two pounds weight of beef, a pitcher of broth, a half quartern loaf,
and twopence in money. Besides this _dole_, there are always, on the
days it is given at least thirty other pitchers, called by-pitchers,
brought by other neighbouring poor, who partake of the remaining
broth, and the broken victuals that is at that time distributed.
Likewise at Queen's College in Oxford, provisions are to this day
frequently distributed to the poor at the door of their hall, under
the denomination of a DOLE."--[_Ducarel's_] "_Anglo-Norman
Antiquities, considered in a Tour through part of Normandy_," p. 81.

[173] Fine.

[174] So in Ben Jonson's "Epicæne," act i. sc. 2, one of the negative
qualities which Morose approved in Cutbeard was _that he had not the
knack with his shears or his fingers_, which, says Clerimont, "in a
barber, he (Morose) thinks so eminent a virtue, as it has made him
chief of his council."

[175] The spirit of enterprise which had been raised and encouraged in
the reign of Elizabeth was extremely favourable to the reputation of
those adventurers who sought to mend their fortunes by encountering
difficulties of any kind in a foreign country. Stukeley and the
Sherleys appear to have been held in great estimation by the people in
general. The former was a dissolute wretch, born in Devonshire, who
squandered away his property in riot and debauchery; then left the
kingdom, and signalised his valour at the battle fought at Alcazar in
Barbary, in August 1578, where he was killed. See an account of him in
a ballad, published in Evans's "Collection," 1777, ii. 103; also the
old play [by Peele] entitled, "The Battle of Alcazar, with the death
of Captain Stukeley," 4º, 1594. Of the Sherleys there were three
brothers, Sir Anthony, Sir Robert, and Mr. Robert; Sir Anthony was one
of those gallant spirits who went to annoy the Spaniards in their West
Indian settlements during the reign of Queen Elizabeth. He afterwards
travelled to Persia, and returned to England in the quality of
ambassador from the Sophy, in 1612. The next year he published an
account of his travels. He was by the emperor of Germany raised to the
dignity of a count; and the king of Spain made him admiral of the
Levant Sea. He died in Spain after the year 1630. Sir Robert was
introduced to the Persian court by his brother Sir Anthony; and was
also sent ambassador from the Sophy to James I., but did not arrive
until the accession of his successor; when, on his first audience with
the king (February, 1626), the Persian ambassador, then resident in
England, in the king's presence, snatched the letters which were
brought by him out of his hands, tore them to pieces, and struck him a
blow on the face; at the same time declaring him an impostor and the
letters forgeries. Charles, being unable to discover the truth of
these charges, sent both the ambassadors back to Persia, with another
from himself; but all three died in the course of the voyage. The
eldest brother was unfortunate.

[176] [In the edits, this passage is thus exhibited--

"SPEND. For your pains.

SER. I'll take my leave of you.

SPEND. What, must you be gone too, Master Blank?"

[177] Alluding to Stukeley's desperate condition when he quitted
England. [I think it alludes to nothing of the kind, but to the
numerous pamphlets which were printed about this time on the state of
Barbary, and Staines's idea of emigrating there and enlisting as a
soldier. A MS. note in former edit, says, in fact: "_i.e._, suggested
to me the necessity of making my fortune in Barbary, being no longer
able to stay here."]

[178] [A hit. Scattergood thought it was some superior tobacco brought
by Longfield from home.]

[179] [See Dyce's "Shakespeare Glossary," 1868, _v._ Novum, and
"Popular Antiquities of Great Britain," ii. 323. Edits., _Novum_ (a
common corruption).]

[180] A _bale of dice_ is the same as a _pair of dice_. So in Ben
Jonson's "New Inn," act i. sc. 3--

"For exercise of arms a _bale of dice_,
Or two or three packs of cards, to show the cheat,
And nimbleness of hand."

And in Marston's "What You Will," act iii. sc. 1--

"Marquesse of Mumchance, and sole regent over a _bale of false
dice_."

[181] Thus we learn from Melvil's Memoirs, p. 165, edit. 1735, that
the Laird of Grange offered to fight Bothwell, who answered that he
was neither earl nor lord, but a baron, and so was not his equal. The
like answer made he to Tullibardine. Then my Lord Lindsey offered to
fight him, which he could not well refuse. But his heart failed him,
and he grew cold on the business.--_Reed._

[182] _i.e._, Tothill Fields.--_Steevens._

[183] A _cue_, in stage cant, is the last words of the preceding
speech, and serves as a hint to him who is to speak next. See Mr
Steevens's note on "A Midsummer's Night's Dream," act iii. sc. 1. [But
here it means the plot which has been concerted between Geraldine and
the others (including Joyce), for inducing Gertrude to relent.

[184] [Edits., _his_.]

[185] Query, _Tax_.--_Gilchrist._

[186] [Old copy, _that_.]

[187] [Rash must be supposed to have conferred with Geraldine, and to
have arranged with him the device, which they here proceed to
execute.]

[188] [Geraldine is to feign death.]

[189] So Otway, in "The Orphan"--

"'Tis heaven to have thee, and without thee hell.

--_Steevens._

[190] At Hoxton. There is a tract entitled, "Pimlyco, or, Runne Red
Cap. 'Tis a Mad World at Hogsdon," 1609.

By the following passage in "The Alchemist," act v. sc. 2, it seems as
though _Pimlico_ had been the name of a person famous as the seller of
ale--

"Gallants, men and women,
And of all sorts tag rag, been seen to flock here
In threaves these ten weeks as to a _second Hogsden_
In days of _Pimlico_ and Eye-bright."

--[Gifford's edit., 1816, v. 164.]

Pimlico, near Westminster, was formerly resorted to on the same
account as the former at Hoxton.

[191] Derby ale has ever been celebrated for its excellence. Camden,
speaking of the town of Derby, observes that "its present reputation
is for the assizes for the county, which are held here, and from the
_excellent ale brewed in it_." In 1698 Ned Ward published a poem
entitled, "Sots' Paradise, or the Humours of a Derby Alehouse; with a
Satire upon Ale."

[192] _i.e._, Pleases me. See note to "Cornelia" [v. 188.]

[193] Henslowe, in his Diary, mentions a play [by Martin Slaughter]
called "Alexander and Lodwicke," under date of 14th Jan. 1597, and in
Evans's "Collection of Old Ballads," 1810, there is a ballad with the
same title, and no doubt upon the same story.--_Collier._ [It is the
same tale as "Amis and Amiloun." See Hazlitt's "Shakespeare's
Library," 1875, introd. to "Pericles."]

[194] So in "King Richard III."--

"Thou troublest me: I am not in the vein."

--_Steevens._

[195] [Compare pp. 230-1.]

[196] [Compare p. 206.]

[197] [Compare p 206.]

[198] [The author had a well-known passage in Shakespeare in his
recollection when he wrote this. The edits, read--

"His hell, his habitation; nor has he
Any other local place."]

[199] [Edits., _men_.]

[200] [_i.e._, The pox.]

[201] Reed observes: "A parody on a line from 'The Spanish Tragedy'--

"'O eyes! no eyes; but fountains fraught with tears,'"

on which Mr Collier writes: "If a parody be intended, it is not a very
close one. The probability is, that the line is quoted by Rash from
some popular poem of the day."

It would be just as reasonable to call the following opening of a
sonnet by Sir P. Sidney a parody upon a line in the "Spanish
Tragedy"--

"O tears! no tears; but rain from beauty's skies."

In fact, it was a common mode of expression at the time. Thus in
"Albumazar," we have this exclamation--

"O lips! no lips; but leaves besmeared with dew."

[202] See note to "Cornelia," [_v._ 225.]

[203] These lines are taken from Marlowe's "Hero and Leander," 4º
1600, sig. B 3, [or Dyce's Marlowe, iii. 15.]

[204] Again, in "Cynthia's Revels," act v. sc. 3: "From _stabbing of
arms_, flapdragons, healths, whiffs, and all such swaggering humours,
good Mercury defend us," [edit. 1816, ii. 380.

This custom continued long after the writing of this play. The writer
of "The Character of England" [Evelyn], 1659, p. 37, speaking of the
excessive drinking then in use, adds, "Several encounters confirmed me
that they were but too frequent, and that there was a sort of perfect
debauchees, who style themselves Hectors; that, in their mad and
unheard-of revels, _pierce their own veins, to quaff their own blood_,
which some of them have drunk to that excess that they have died of
the intemperance."--_Reed._

[205] Alluding to the story of Friar Bacon's brazen head.--_Collier._

[206] The colour of servants' clothes.

[207] ["This is a most spirited and clever scene, and would act
capitally."--_MS. note in one of the former edits._]

[208] [Edits., _are_.]

[209] [Edits., _and_.]

[210] A Jack o' Lent was a puppet which was thrown at in _Lent_, like
Shrovetide cocks. See Mr Steevens's notes on "The Merry Wives of
Windsor," act iii. sc. 3, and act v. sc. 5.

[211] The whole of this scene seems levelled at Coriat.--_Gilchrist._

[212] Opportunely.--_Steevens._

[213] Meeting. So in "Hamlet," act iii. sc. 1--

"That he, as 'twere by accident, may here
_Affront_ Ophelia."

[214] An allusion, probably, to some old ballad. "Hamlet," act iii.
sc. 2, refers to the same, and appears to repeat the identical line,
which is also introduced in "Love's Labour's Lost," act iii. sc. 1.
Bishop Warburton observes that "amongst the country May-games there
was an hobby-horse which, when the puritanical humour of those times
opposed and discredited these games, was brought by the poets and
ballad-makers, as an instance of the ridiculous zeal of the sectaries"
(Note to "Hamlet.") See also Mr Steevens's note on the same passage.

Again, in Massinger's "Very Woman," act iii. sc. 1--

"How like an everlasting Morris dance it looks;
Nothing but _hobby-horse_ and Maid Marian."

The _hobby-horse_ was also introduced into the Christmas diversions,
as well as the May-games. In "A True Relation of the Faction begun at
Wisbich, by Fa. Edmonds, alias Weston, a Jesuite," 1595, &c., 4º,
1601, p. 7, is the following passage: "He lifted up his countenance,
as if a new spirit had bin put into him, and tooke upon him to
controll and finde fault with this and that (_as the comming into the
hall of a hobby-horse in Christmas_), affirming that he would no
longer tolerate these and those so grosse abuses, but would have them
reformed."

Whatever the allusion in the text be, the same is also probably made
in Drue's "Dutchess of Suffolk," 1631--

"CLUNIE. Answer me, _hobbihorse;_
Which way cross'd he you saw now?

JENKIN. Who do you speake to, sir?
_We have forgot the hobbihorse_."

--Sig. C 4.--_Gilchrist._

[215] See Dyce's Middleton, ii. 169.

[216] This line very strongly resembles another in "The Merchant of
Venice:"

"You spend but time,
_To wind about_ my love with _circumstance_."

--_Steevens._

[217] "Is this the origin of epilogues by the characters?"--_MS. note
in former edit._

[218] "This is a very lively and pleasant comedy; crude and careless,
but full of life, humour, &c."--_MS. note in former edit._

ALBUMAZAR.

_EDITIONS._

(1.) _Albumazar. A Comedy presented before the Kings Maiestie at Cambridge, the ninth of March, 1614. By the Gentlemen of Trinitie Colledge. London, Printed by Nicholas Okes for Walter Burre, and are to be sold at his Shop, in Pauls Church-yard._ 1615. 4º.

(2.) _Albumazar. A Comedy presented before the Kings Maiesty at Cambridge. By the Gentlemen of Trinity Colledge. Newly revised and corrected by a speciall Hand. London, Printed by Nicholas Okes_ 1634. 4º.

[There is a third 4º printed in 1668, with an epilogue by Dryden.]

[REEDS PREFACE.]

[John] Tomkis,[219] [or Tomkins, son of Thomas Tomkins, a celebrated musician of the reign of James I.], the author of this play, was of Trinity College, Cambridge.

In what part of the kingdom he was born, and what became of him after he quitted the University, are all circumstances alike unknown. That no memorials should remain of a person to whom the world is obliged for a performance of so much merit as "Albumazar" is allowed to possess, cannot but create surprise, and at the same time will demonstrate that genius is not always sufficient to excite the attention of contemporaries or the curiosity of posterity. Dryden [whose ignorance of our earlier literature is well known] not only seems to have been unaware to whom the world owed this piece, but also the time in which it was first represented. He has without any authority asserted that Ben Jonson--

"Chose this
As the best model of his masterpiece.
_Subtle_ was got by our _Albumazar_,
That _Alchymist_ by this _Astrologer;_
Here he was fashion'd, and, we may suppose,
He lik'd the fashion well who wore the cloaths."

But in this particular he was certainly mistaken. The "Alchemist" was printed in 1612, and "Albumazar" was not performed until the year 1614, as will appear from the following particulars:--

"King James," says a writer in the _Gentleman's Magazine_ for May 1756, p. 224, "made a progress to Cambridge and other parts in the winter of the year 1614, as is particularly taken notice of by Rapin, vol. ii. p. 156, who observes that the play called 'Ignoramus' was then acted before his Majesty at Cambridge, and gave him infinite pleasure. I found in the library of Sir Edward Deering a minute in manuscript of what passed at Cambridge for the five days the king stayed there, which I shall here transcribe, for it accords perfectly with the account given by the historian, both of the king's progress and the play entitled "Ignoramus," and at the same time will afford us the best light to the matter in hand:--

"On Tuesday the 7th of March 1614, was acted before the King, in Trinity College Hall--

"1. Æmilia: A Latin Comedy, made by Mr Cecill Johannis.

"On Wednesday night--

"2. Ignoramus the Lawyer[220]: Latine and part English. Composed by Mr Ruggle Clarensis.

"On Thursday--

"3. Albumazar the Astronomer, in English. By Mr Tomkis, Trinit.

"On Friday--

"4. Melanthe[221]: A Latin Pastoral. Made by Mr [S.] Brookes (mox doctor) Trinitatis.

"On the next Monday--

"5. The Piscatory, an English Comedy, was acted before the University, in King's College, which Master Fletcher[222] of that College had provided, if the King should have tarried another night."

Part of the above account is confirmed in a letter from John Chamberlain to Sir Dudley Carlton, at Turin, dated 16th March 1614, lately printed in "Miscellaneous State Papers, from 1501 to 1726," i. 395: "The King and Prince lay at Trinity College, where the plays were represented; and the hall so well ordered for room, that above 2000 persons were conveniently placed. The first night's entertainment was a comedy, and acted by St John's men, the chief part consisting of a counterfeit Sir Edward Ratcliffe, a foolish tutor of physic, which proved but a lean argument; and, though it were larded with pretty shows at the beginning and end, and with somewhat too broad speech for such a presence, yet it was still dry. The second night was a comedy of Clare Hall, with the help of two or three good actors from other houses, wherein David Drummond, in a hobby-horse, and Brakin the recorder of the town, under the name of Ignoramus,[223] a common lawyer, bare great parts. The thing was full of mirth and variety, with many excellent actors (among whom the Lord Compton's son,[224] though least, was not worst), but more than half marred with extreme length. The third night was an English comedy called ALBUMAZAR, of Trinity College's action and invention; but there was no great matter in it, more than one good clown's part. The last night was a Latin Pastoral, of the same house, excellently written, and as well acted, which gave great contentment, as well to the King as to the rest."

After the Restoration, "Albumazar" was revived, and Mr Dryden wrote a prologue to it, which is printed in every edition of his works.

Although it does not appear to have been upon the list of acting plays, yet the reputation which it had obtained induced Mr Ralph to build upon it a comedy which, after ten years' application, was performed at Drury Lane in 1744, under the title of "The Astrologer." It was acted, however, only one night, when the receipts of the house amounted but to twenty-one pounds. On the second night, the manager was obliged to shut up his doors for want of an audience. (See advertisement prefixed to the play.)

It cannot be denied that "Albumazar" has not been a favourite play with the people in general. About the year 1748, soon after Mr Garrick became manager of Drury Lane Theatre, he caused it to be revived, and gave it every advantage which could be derived from the assistance of the best performers; but though admirably acted, it does not appear to have met with much success. It was again revived at the same theatre in 1773, with some alterations, and was again coldly received, though supported by the best comic performers of the times. The piece, on this revival, received some alterations from the pen of Mr Garrick, and was published in 8º, 1773.

FOOTNOTES:

[219] This is the name given to the author of "Albumazar" in the MS.
of Sir Edward Deering. I am, however, of opinion that it should be
written TOMKINS, and that he is the same person who is addressed by
Phineas Fletcher by the names of Mr _Jo. Tomkins_, in a copy of
verses, wherein he says--

"To thee I here bequeath the courtly joyes,
_Seeing to court my Thomalin is bent:_
Take from thy Thirsil these his idle toyes;
Here I will end my looser merriment."

--"Poetical Miscellanies," printed at the end of "The Purple Island,"
1633, p. 69.

If this conjecture is allowed to be founded in probability, the author
of "Albumazar" may have been John Tomkins, bachelor of music, who,
Wood says, "was one of the organists of St Paul's Cathedral, and
_afterwards gentleman of the Chapel Royal_, then in high esteem for
his admirable knowledge in the theoretical and practical part of his
faculty. At length, being translated to the celestial choir of angels,
on the 27th Sept. an. 1626, aged 52, was buried in the said
cathedral." It may be added that Phineas Fletcher, who wrote a play to
be exhibited in the same week with "Albumazar," celebrates his friend
Tomkins's skill in music as well as poetry.

[220] I have seen no earlier edition of this play than one in 12º,
1630--"Ignoramus Comoedia coram Regia Majestate Jacobi Regis Angliæ,
&c. Londini Impensis, I.S. 1630." The names of the original actors are
preserved in the Supplement to Granger's "Biographical History of
England," p. 146.

[221] "Melanthe, fabula pastoralis, acta cum Jacobus, Magnæ Brit.
Franc. et Hiberniæ Rex, Cantabrigiam suam nuper inviserat, ibidemque
musarum atque animi gratia dies quinque commoraretur. Egerunt Alumni
Coll. San. et individuæ Trinitatis Cantabrigiæ, 1615."

[222] This was Phineas Fletcher, son of Dr Giles Fletcher, and author
of "The Purple Island," an allegorical poem, 4º, 1633; "Locustæ vel
Pietas Jesuitica," 4º, 1627; "Piscatory Eclogues;" and other pieces.
The play above-mentioned was, I believe, not published until 1631,
when it appeared under the title of "Sicelides, a Piscatory, as it
hath beene acted in King's College, in Cambridge."

[223] The list printed by Mr Granger assigns this part to Mr
Perkinson, of Clare Hall.

[224] Mr Compton of Queen's College performed the part of _Vince_. See
Granger.

DRAMATIS PERSONÆ.

ALBUMAZAR,[225] _an astrologer_.
RONCA, }
HARPAX, } _thieves_.
FURBO, }
PANDOLFO, _an old gentleman_.
CRICCA, _his servant_.
TRINCALO, _Pandolfo's farmer_.
ARMELLINA, _Antonio's Maid_.
LELIO, _Antonio's son_.
EUGENIO, _Pandolfo's son_.
FLAVIA, _Antonio's daughter_.
SULPITIA, _Pandolfo's daughter_.
BEVILONA, _a courtesan_.
ANTONIO, _an old gentleman_.

[225] "Albumazar" is the name of a famous Persian astrologer viz., Abu
ma shar.--"Universal History," v. 413; Collier's "Dictionary," _in
voce_.--_Pegge._

THE PROLOGUE.

The brightness of so great and fair a presence,
They say, strikes cold amazement. But I feel
Contrary effects. For from the gracious centre
O' the honourable assembly some secret power
Inflames my courage; and methinks I am grown
Taller by th' virtue of this audience.
And yet, thus rais'd, I fear there's no retiring.
Ladies, whose beauties glad the whole assembly,
Upon your favours I impose my business.
If't be a fault to speak this foreign language,
(For Latin is our mother tongue)[226] I must entreat you
To frame excuses for us; for whose sake
We now speak English. All the rest we hope
Come purposely to grace our poor endeavours,
As we to please. In whose fair courtesy
We trust, not in our weak ability.

[226] It is observed by the writer in the _Gentleman's Magazine_,
1756, p. 225, that "the exercises of the University were not only
performed in Latin; but the plays, written in this and the former
reign, for the entertainment of the Court, whenever it removed, either
to Oxford or Cambridge, were generally composed in that language. Thus
'Æmilia,' 'Ignoramus,' and 'Melanthe,' all acted at the same time with
'Albumazar,' were in Latin. Both King James and Queen Elizabeth were
Latinists."

ALBUMAZAR.[227]