In the forbidden labyrinth of lust. (Fatal Dowry,' IV. iv.) To guide me through the labyrinth of wild passions. ('Great Duke of Florence,' II. i.) of approved cunning In all the windings of lust's labyrinth. ('The Picture,' II. ii.) 4. Dorothea: Or pleasures that do leave sharp stings behind them. 3. Theophilus : Compare: : ('Picture,' III. ii.) as my feet were rooted Stephano: How the Duke stands ! Tiberio : And had no motion. ('Duke of Milan,' III. iii.) he stands 'As if he wanted motion. (Ibid., IV. iii.) You stand, madam, As you were rooted. As you were rooted. ('Guardian,' I. i.) yet you stand ('Bondman,' V. iii.) 4. Theophilus : Do not blow The furnace of a wrath thrice hot already. This is akin to "pouring oil on a fire burning already at the height" (see Act I., sc. i.) and is used by Massinger even more frequently. Three examples will suffice :— "Tis far From me, sir, to add fuel to your anger, ('Maid of Honour,' II. i.) Do not fan A fire that burns already too hot in me. ('Bondman,' V. i.) Thou shalt not perish such an easy way. Who is not so far reconciled unto us What will you do? ('Maid of Honour,' II. iv.) Not kill thee, do not hope it: I am not ('Guardian,' III. vi.) Scene iii. This scene presents no difficulty. It consists chiefly of prose dialogue between Hircius and Spungius. There is one speech of Angelo's in metre, and, after his departure, Harpax enters speaking in metre, while Hircius and Spungius continue to speak in prose. Both prose and verse are clearly Dekker's. The prose contains Dekker's hard-worked punning allusions to shoes and cobblers ("set many a woman upright,' "trod'st thy shoe awry, taking the length of my foot," &c.), and to "catchpoles," i.e., sheriff's officers, another pet topic of his. The appearance of one of his illness with the Waiting Woman's dethe most characteristic of his verbs-amble- scription of the distracted Almira in A Very Hirzius: mine eyes cry aloud, Woman' :and curse my feet for not ambling up and down to feed colon. is another significant mark, as also the observation of Harpax : now that you see The bonfire of your lady's state burnt out. But though the whole scene is as unmistakably Dekker's as any in the play, it is, of course, quite possible that Massinger may have added or altered a word here and there. This seems, indeed, to have happened in the very speech of Hircius from which I have just quoted. I do not recognize the expression "to feed colon" (=to satisfy my hunger) as Dekker's. It is very likely Massinger's. Compare: Macrinus: Stand by his pillow Some little while, and, in his broken slumbers, Ilim you shall hear cry out on Dorothea; And, when his arms fly open to catch her, Closing together, he falls fast asleep, let him hear The voice of Dorothea, nay, but the name, He starts up with high colour in his face, &c. A moment later, Antoninus awakes, crying out:Thou kill'st me, Dorothea; oh, Dorothea! In A Very Woman,' II. iii., Leonora asks one of the Waiting Women if Almira has slept, and the Waiting Woman answers :As if some dreadful vision had appear'd, If she slumber'd, straight, She started up, her hair unbound, and with Distracted looks staring about the chamber, Unnatural Combat,' I. i.) She asks aloud, "Where is Martino?" &c. Here is the same conception of mental dis('Picture,' II. i.) traction, the broken slumbers," starting up in bed, and crying out the name of the lover. But how shall I do, to satisfy colon. Act IV., scene i. This scene (hitherto attributed entirely to Dekker) shows clear signs of Massinger's collaboration. In fact, up to the stagedirection "Re-enter Sapritius, dragging in Dorothea by the hair," it is substantially Massinger's. It is all in metre. The scene opens with "Antoninus on a couch asleep, with doctors about him," Sapritius making a rhetorical appeal to the doctors to use their utmost endeavours to save his life. He addresses them thus:— O you that are half-gods, lengthen that life Their deities lend us; turn o'er all your volumes Of your mysterious Esculapian science, To increase the number of this young man's days. just after the fashion of Sforza's speech to the doctors in The Duke of Milan,' V. ii. :O you earthly gods, You second natures, that from your great master, The doctor who has already spoken, first suggests that music would be beneficial, and then, when Antoninus receives this suggestion by rising from his bed with a curse, tells him to return to it, sleep being " a sovereign physic." Thou stinking clyster-pipe," exclaims Antoninus, where's the god of rest, Thy pills and base apothecary drugs Threatened to bring unto me? Out, you impostors ! Quacksalving, cheating mountebanks! In A Very Woman,' II. ii., Paulo praises ... bought So far only suggestions of Massinger's pen have been noticed. The term "stinking clyster-pipe" applied to a doctor is, however, almost certainly Dekker's. He uses it (of The first doctor begins his reply to Sapritius Dr. Ropus) in The Whore of Babylon' with 1 Jal art can do, we promise. I have done as much as art can do to stop (Pearson, ii. 250) and again ("sweet Doctor Glister-pipe") in Westward Hoe,' I. i. I know of no instance of its use thus elsewhere as early as these. The first example given in 'N.E.D.,' is of 1661. It may also be remarked that "stinking" is an adjective of extraordinarily frequent occurrence in Dekker; and he has stinking surgeon” in Northward Hoe,' IV. i. After the stage-direction "Re-enter Sapritius," &c., the scene is no doubt mainly of Dekker's writing, but even here a careful study of the text in the light of Massinger's independent plays unmistakably reveals not only the influence but traces of the language of Massinger. The interview between Antoninus and Dorothea, in particular, should be compared with that between Hortensio and Matilda in The Bashful Lover,' I. i. In the latter play, Ascanio's scorn of Hortensio's bashful attitude towards Matilda is paralleled in Sapritius's scorn of the behaviour of Antoninus, and there is a strong resemblance between the language used by Ascanio and that of Sapritius. Compare also Durazzo's annoyance at Adorio's tepid wooing of Calista in The Guardian,' I. i. And for a definite mark of Massinger's vocabulary one may without hesitation point to the passage in which Antoninus speaks of tasting the fruit of that sweet virgin tree." Such language is typical of Massinger (compare "When first I tasted her virgin fruit,' Duke of Milan,' I. iii.) and not to be found in Dekker. 1. Second speech of Antoninus: Then with her dies The abstract of all sweetness that's in woman! A favourite expression of Massinger's; compare: The abstract of all goodness in mankind. ('Bondman,' V. iii.) the abstract Of all that's rare, or to be wished in woman. (Duke of Milan,' I. iii., and Picture,' I. ii.) 2. Same speech: she being gone, the glorious sun himself To me's Cimmerian darkness. Compare: without her all is nothing; The light that shines in court, Cimmerian darkness. (Bashful Lover,' I. i.) .. our clue of life 3. Antoninus: Was spun together. Compare: Was spun together. ... our thread of life (Custom of the Country' (Mass. and Fletcher), III. iv.) By my hopes 4. Antoninus: Of joys hereafter. Compare :-- Think you all treasure Hid in the bowels of the earth, or shipwreck'd In Neptune's wat'ry kingdom, can hold weight When liberty and honour fill one scale? (Bondman,' I. iii.) a cabinet. . whose least gem All treasure of the earth, or what is hid In Neptune's watery b som, cannot purchase. (Parliament of Love,' III. ii.) bury in Oblivion your feigned Hesperian orchards : The golden fruit, kept by the watchful dragon, Which did require a Hercules to get it, Compared with what grows in all plenty there Deserves not to be named. 7. Dorothea: Compare: Those golden apples in the Hesperian orchards So strangely guarded by the watchful dragon Emperor of the East,' IV. ii.) . . strike,O! strike quickly. Compare Eudocia's song in The Emperor of the East,' V. iii. :— But to me thou art cruel, If thou end not my tedious misery: Strike, and strike home, then; pity unto me, also (in the speech of Theophilus prompted Compare: by the laughter of the invisible Harpax) What is't the dog grins at so?" with Cæsar's "Dogs, do you grin ?" in Roman Actor,' III. ii. The style of the greater portion is, however, eloquent of Dekker's authorship, and the metrical evidence is confirmed by the inversions "Some angel hath me fed" and Me hast thou lost," both in speeches of Theophilus. Scene ii. This (all verse) is Massinger's. are numerous : 1. Maximinus: Were you deformed, Parallels belch forth blasphemies. ('The False One' (M. & F.), V. iii.) 6. Dioclesian: Thou twice a child! for doting Thou couldst not else, thy pilgrimage of life age so makes thee, Being almost passed through, in the last moment Destroy whate'er thou hast done good or greatThy youth did promise much; and, grown a man, Thou mad'st it good, and, with increase of years, Thy actions still bettered as the sun, Thou did'st rise gloriously, kept'st a constant course In all thy journey; and now, in the evening, When thou should'st pass with honour to thy rest, Wilt thou fall like a meteor? Compare : An old man's twice a child. ('Bashful Lover,' III. i.) If doting age could let you but remember. But now I find you less than a man, (Barnavelt,' I. i., Bullen,' Old Plays,' ii. 211.) I much grieve, After so many brave and high achievements, (Unnatural Combat,' I. i.) The shock of fierce temptations. To draw my bark of chastity (that with wonder (Renegado,' II. i.) shall I then, Now in the sun-set of my day of honour, When I should pass with glory to my rest, &c. ('Barnavelt,' Bullen, ii. 210). 7. Sapritius: Confess . . . that thy tongue and heart Had no agreement. That may secure me that your heart and tongue Join to make harmony? (Unnatural Combat,' III. iv.) 8. Theophilus: In mine own house there are a thousand engines Of studied cruelty, which I did prepare 66 Studied cruelty" occurs again in The P.. on,' III. v., and compare Roman Actor, L. studied (Roman Actor,' III. ii.). The Sicilian' a table comparing the results arrived at by is, of course, Phalaris. Compare:- Of what thy father and thy brothers suffer'd (The Bashful Lover,' II. vii.) these two critics with my own : The torturing of Theophilus at the close of the scene should be compared with the torturing of Junius Rusticus and Palphurius Sura in The Roman Actor,' III. ii. In both plays the Roman emperor urges Act IV. sc. the application of still severer tortures to extort some manifestation of suffering from the tortured, but without success. particularly the exclamations of Sapritius and Dioclesian Sapritius: No sigh, nor groan, To witness he has feeling, Dioclesian: Harder, villains! and compare The Roman Actor' : Cæsar: Is my rage lost? villains! Not a groan ! sc. ii. sc. iii. Note Act" V. sc. i. Dekker sc. ii. Massinger Enfield. search deeper, So brave! I'll tame you yet, pluck hard, villains; of There remains only the vision Dorothea with the fine concluding speech of Theophilus. Nowhere do we find any trace of Dekker. · Massinger Massinger and Dekker Massinger H. DUGDALE SYKES. GLASS-PAINTERS OF YORK. (See ante, 12 S. viii. 127, 323, 364, 406, 442, 485; ix. 21, 61, 103, 163, 204, 245, 268, 323, 363, 404, 442, 483, 523; x. 44.) JOHN DE BURGH. Surtees Soc.) as a "glasenwright.' FREE of the city 1375 ('Freemen of York,' "" He was evidently a member of a considerable family of that name. In 1399 William Burgh, probably a brother, "filled the great window of Westminster Hall with flourished glass in the last year of Richard II." (Prof. W. R. Generally, the result of my detailed inLethaby, Westminster Abbey and the vestigation is to confirm the conclusion at King's Craftsmen,' p. 304). Several other which most previous critics have arrived-members of the family were in orders, but at that Dekker is responsible for what is the same time seem to have been all more or worst, and for a good deal of what is best less interested in glass. In 1391 John de in the play. The prose portions, the Ednestow, chaplain of a chantry at the altar speeches of Hircius and Spungius, are cer- of St. Michael in St. Helen's Church, Stonetainly almost entirely his, but he is also gate, the parish church of the glass-painters, chiefly responsible for Dorothea and Angelo. bequeathed 108. to Dom Simon de Burgh Massinger's share in the play is, however, (Reg. Test. i. 45b). Simon Burgh, chaplain, larger than has usually been supposed. All evidently the same man, made his will in that is distinctively Roman in the play 1423, desiring to be buried "outside the east is his, and he is entitled to some of the end of the choir of the Minster of St. Peter at credit for several of the best scenes hitherto York over against the great window there attributed to Dekker alone. and near to the wall of the said choir " (Reg. Test. i. 214d)—that is, in the cemetery at the east end of the new choir and immediately underneath John Thornton's great east window, which had been completed some fifteen years previously. Another member of the family, also called John de Burgh (but evidently distinct from the glass-painter, who was alive in 1419), made his will on July 12, 1402, desiring to be buried in Halifax parish church. For making one window 66 Of the many previous critics who have essayed to divide this play between its two authors, Messrs. Fleay and Boyle (if my division be the right one) are the most accurate. Boyle's article on the subject will be found in the Transactions of the New Shakespeare Society (1880-6, Part III., pp. 624-6). He differs from Fleay only in attributing Act II., sc. ii., which Fleay assigns to Massinger, to Dekker. I subjoin 66 |