Philip Massinger

2

to Massinger quo

2

, IV.,

2

2,

2

, 268

2

3, 4

2

4,

3

3, 5

3

3, 12

3

1, 4

3

a passage imitated and expanded i

3

e the peculiar speech of a certain dialect: King Lear, IV., 6, 239-251. Concerning the particular county there referred to English scholars have been of different opinions. Steevens pleads for Somersetshire, in the dialect of which rustics were commonly introduced by ancient writers; Collier inclines to decide

3

ong the things which Anne d

esh

never seen be

s, that sit on th

s Revels; Fitzdottrel in The Devil is an Ass, I., 3; Induction to Knight of the Burning Pest

3

y be exaggerated or affected, but which has at least a genuine element in it. The same vein of chivalrous sentiment gives a fine tone to some of Massinger's other plays; to The Bondman, for exam

3

, 72-92. Cf. Believe As Y

3

f grace more than any other of our author. It should b

3

ssinger's plays. Thus in The Virgin Martyr, II., 2, Macrinus gets into trouble for the curtness of his salutatio

4

1,

4

2,

4

, 2

4

1,

4

, 2

4

, 2,

4

2,

4

, 162

4

3,

4

, 136

5

, 2

5

2,

5

n Cardenes' speech in A Very Woman (I., 1, 240-256). For clumsy periods se

5

, Eng. trans, by Stro

5

Shirley, and other authors of the period. I only mention it because it

5

1, 1

5

3,

5

1,

5

.,

5

2,

6

ne's estimates, I am at once pleased and humiliated at the thought that he ha

6

1,

6

, 1,

6

ado, III.

6

ien, xiv., 60) notes thi

6

S. S., Tra

6

it.,

6

, vii

6

position or other word which syntactically requires th

e fact

confess it;

was unwillingl

s there are so

ss this

the outstanding feature of Fletcher

say you are

ch I must not

am sorry, tha

f my life, for

a ground, tha

n man, though br

undermine, a

ey hairs to the

as my patrones

ts "when" in t

I the proportion of double endings to blank verse is 1 to 3; in Fletcher's, 1 to 1·7. The weak and sugary effect

per cent, or more. The percentage of run-on lines is a little lower, but seldom sinks for more than a scene below 30 per cent. The light and weak endings together make 5 to 7 per cent. The versification is exquisitely musical. There are very few rhymes." The cor

6

Love, and rewrites it, as far as metre (and metre only) is concerne

7

3,

7

2, 4

7

8; II., 3, 116; III., 2, 61; IV., 3, 16; New Way, I., 2, 48 and 63; II., 2, 151; III., 2, 241; V., 1, 233; Very Woman, I., 1, 26 and 147; V., 6, 31; Bashful Lover, I., 1, 114, 163, and 207; II., 2, 36, 37; II., 3, 9; II., 4, 42; III., 1, 99; III., 3, 71 and 80; V., 1, 39, 40, 48, 50, 176; Roman Actor,

7

ding (Oliphant, E. S., xiv., 71), c

7

5,

7

1,

7

ul Lover (IV., 3, 170), and O

7

, l.

7

's greatest blessings" (line 21) is a very characteris

7

rrives at the conclusion that Boyle admired Massinger enormously, and would have allowed none else t

8

that Massinger's portrait of the imperious woman was not

8

ashful Lover (III., 3, 147), and

8

), Calantha's request to her father in The Broken Heart (IV., 3), Fior

8

I.

8

also Romeo and J

8

; take, for example, Dr. Breen's Practice and

8

it.,

8

1, 345; V., 2, 83; Great Duke of Florence, II., 3, 112; Unnatura

8

thews,

8

pp. 41-42). Cf. also G. C. Macaulay in Cambridge History of

9

ian in Th

9

actors in women's attire are not altogether so bad, so discommendable as women stage-players," but goes on to say: "since both of them are evill, yea extremely vitious, neither of them necessary, both superfluous as all playes and players are; the superabundant sinfulnesse of the one, can neither

may have been before the times, must have caused great scandal to the Puritan party. The complications which sometimes arise from the use of men for female parts may be illustrated from Middleton's amusing play, The Wido

9

a, p

9

confess all, and you then may hang him," and towards the end of the same Act, "Ay, anything but killing of the King;" and in The Conspiracy of Byron, Act II., in La Fin's speech, "I can make

9

Woman,

9

be given from Massinger; his d

owry, I

is a

esence speaks i

tongues of twe

n, I.,

flyi

rovident conqu

dge o

n, IV.,

ar m

alls of time, to

unto the throne,

g of destiny m

asi pilas homines habent;" Pericles, II., 1, 63; and The

Lover, I

e rule

er tenni

's Henslowe Pa

Lover, I

iam

n horn, is s

es, as in

man, IV

thirsty dropsy

covet that whic

eet, but partak

Milan, I

s that

in, are with e

e deadly that c

f Florence,

o

through the ear

as by

e, II.

ews,

, but what's good

rtyr, IV.

ures

s; sour, not wor

ay, IV.

I mus

got, to be a

bad

n, I.,

govern others,

f himself, r

nderstanding, h

rkable graces

e unto

n, III

pirits, raised

not so soon lai

him that ca

9

Library,

9

s, 146

9

s' Milton, Appendix D, pp. 56-57. The same thing is

9

ge cf. A Very Woma

0

are not at all bad; cf.; for example, Emperor of the East, V., 3: "Why art thou slow, thou rest of trouble, Death?" Guardian, IV., 2, The songs of Juno and Hymen; V., 1, the "entertainment

0

Ben Jonson's unfortunate New Inn, produced

re these, whose oxe

lentiful po

y, IV.

Master

ll I am sure) st

y, IV.

reat Turk came,

favour, I a

0

The Unnatu

0

ly in depicting the witty pertness of a saucy page." It does not, there

0

Way and C

0

to time given a charming alfresco perf

0

O. Barnavelt (Old Pla

0

it.,

0

it.,

0

osius in The Emperor of the East; and

1

thello appeared in 16

1

Surrey. "I forgive him"; V., 2, 172: Gardiner. "With a true heart and brother love I do it." Henry V and Antony are other inst

1

alth is one of the most splendid efforts of

1

dian

1

,

1

,

1

2,

1

3,

our intent

r belief, pr

e. Can there be

at suffers u

very day, nay h

swerable, and there'

in my

1

rtyr, III

1

especially

. Stay,

en alt

ere are fi

2

s, 145

2

d cruelty to her slaves. Cf. also The Projector in The Emperor of the East, I., 2, 257. On the ot

2

s, 145

2

s, 145

2

to a man who is more of the rhetorician than the seer. He fancies that eloquence must be irresistible. He takes the cha

2

f many eloquent observations, though not developments of one master thought. We often feel, that if external circumstances had been propitious, he would have expressed himself more naturally, in the form

2

and, ii., p. 202) doubts the "asso

2

p. 441) notes "the almost magical success" w

2

relling; Homer and Hesiod; Statius and Virgil. Last of all Ben Jonson "had openly vaunted himself the first and best of English poets." This is much resented by Chaucer, Chapman, and Spenser; last of all Shakspere and Flet

2

1,

3

.,

3

.,

3

,

3

, 1,

3

I.

3

goes back beyond Robin

3

.,

3

, 104 with Midsummer Nig

3

, 1

3

.,

4

, 1,

4

.,

4

Combat, II

4

.,

4

, 3,

4

.,

4

.,

4

I.

4

, 2

4

lo, I

5

rison in Eastward Ho (Act V.); Gri

5

r hand, Paulo in A Very W

is spirits in

more da

5

.,

5

,

5

,

5

he metaphor in the dedic

5

.,

5

, 1,

5

em in The City Madam (IV.; 1,

ord's

e, scrape-shoe,

uck and money

hee; the subur

fortunes, and I

congra

New Way,

peased, and Furna

5

Cf. Prophete

inspired wi

etic spirit

wer from

rriage, I

r? Oh! my pr

6

5,

6

, 2

6

rtyr, III

6

, 1,

6

1,

6

also Roman Act

6

, 1

6

, 2,

6

nus, I.

6

Way, I., 3, 88, and Empe

blood, as you

cold, as muc

f my passions

poor s

7

I.

7

1,

7

, 1

7

.,

7

3, 13

7

adley, Shakspearea

7

he madness of the Englishman is referr

7

o Appen

7

.,

7

er, it is important to remember that words change their poetical value with time; it is clear, for example, th

8

2, 4

8

, 2

8

oman, II

8

.,

8

,

8

.,

8

r of the East, III., 2, 54; Guardian, III., 1, 23; Parliament of Love, I., 4

8

1, 1

8

the East, IV., 3, 39; Duke of Milan, IV., 3, 97; Unnatural Combat, IV., 1, 199; Par

8

, 17-22; Pictur

9

V., 4, 21; A New Way, II., 2, 20; IV., 2, 99; Emperor of the East

9

26; III

9

and City M

9

r?" Mr. Arthur Underhill, in Shakspere's England, Vol. i, No. xiii., deci

9

e of Sesse in The Double Marriage (II., 4); and in the same play the doctor plays tricks on Castruccio's food (V., 1). In The Sea Voyage (III., 1) the surgeon is introduced merely to make fun of his apparatus.

9

1, 75; I., 2,

9

72; III., 2,

9

, 3

9

4, 69. Beaumont observe

9

., 1; I

0

336; IV., 2,

0

1,

0

2,

0

2, 2

0

, 2,

0

I., 4, 70-73, 78, 79, 129, 130; IV., 1, 56-59;

0

, 2

0

3,

0

4,

0

, 2,

1

1,

1

th instances of the method of

1

, 1

1

, 2,

1

2,

1

1, 22) is true to history, though artistical

are dragged in is quite unlike Massinger, and very like Shak

1

iety's Transactio

1

on on Januar

1

., p

1

; III., 2, 39-42, 55-56, 96, 159; V

2

ark applies

2

h a line as

2

. 87,

2

, 28, 48; II., 3, 86; II., 4, 92; III., 2, 125, 129, 213, 214, 236, 255, 259; V., 2, 32; V., 3, 23, 60, 72, 103; V., 4, 94; V., 5, 30. For repetitions of

2

1,

2

age Review,

2

n in The Two Noble Kinsm

2

, 2,

2

it.,

2

ble Kinsme

3

1,

3

s to me lik

3

und, maintains this thesis (T

3

3; II

3

at Mr. Bullen beli

3

espeare

3

1,

3

, 1,

3

., iv.,

3

ty's Transactions,

4

e 3

4

e 3

4

s 37

4

e 3

4

1,

4

2, 112; Bondman, I., 1, 13. Cf. Tamburlain

4

h, I.,

4

e 3

4

e 3

4

e 3

5

e 3

5

3,

5

4,

5

f using intransitive verbs transitively.

5

, 195

5

, 209

5

e 3

5

,

5

e 3

5

s 38

6

ere has "the wheaten garland"

6

279; IV., 3, 164; Maid

6

1,

6

, III.,

6

erchant of Venice, II., 1, 44. "The temp

6

V., 2, 45; Pic

6

, 1

6

1,

6

ight, III

6

, 3, 78; New W

7

2, 4

7

, 275

7

3,

7

, 2

7

in Friar Bacon and Friar

7

3,

7

, 1,

7

hful Lover, I., 1,

7

, 178

7

Bondman, IV., 2, 75; City Madam, V., 3, 108; Guardian, I., 1, 191. In these

8

1,

8

1,

8

New Way, I., 1, 31; III., 1, 17; III., 2, 49; Virgin Martyr, I., 1, 321; Fatal Dowry, I., 1, 85; II., 2, 107 and 313; Emperor of the East, Prol., 2, 14; II., 1, 324; Bondman, I., 3, 290; Renegado, II., 1, 66. It is true that blushing plays a great part in all our old dramatists. Compare in Fletcher, False One, II., 3, ad finem; II., 6, 22; Leandro, in The Spanish Curate, I., 1; and in Shakspere, Henry V, V.

8

52; Old Law, III., 1, 272; Em

8

4, 65; Renegado, II., 1, 31-34; IV., 1, 147; V., 3, 76-81; Guardian, III., 1, 8-10 and 42: III., 6, 6; IV., 1, 13 and 21; Emperor of the East, IV., 1, 59; IV., 3, 22; V., 3,

8

, II.,

am full o

ere is here I mu

yet an

2, 98; Guardian, II., 3, 140; Emperor of the East, V., 1, 129; Bashful Lover, IV., 1, 200; Rom

s Metamorphoses, vi. 619: "Magnum quod

8

ondman, III., 2, 59; III., 3, 26; Parliament of Love, II., 3, 82; Emperor of the East, I., 1, 95; I., 2, 148; II., 1, 158 and 334; New Way, II., 2, 84; Bashful Lover, V., 1, 39; City Madam, III., 1, 67. Cf. also Duke of Milan, IV.,

8

II., 6, 13; Maid of Honour, II., 4, 18; IV., 3, 127; A Very Woman, II., 1, 71; IV., 2, 151. Donusa, th

8

oncerned with a duel. In Love's Progress we have a duel in which the seconds fight; they want to do so in The Honest Man's Fortune. In

8

ed in a religious sense: Maid of Honour, IV., 3, 81; Unnatural Combat, I., 1, 356; City Madam, I., 3, 126; V., 3, 135; Guardian, I.,

9

A Very Woman, II., 2, 60; Picture, I., 3, 176; II., 2, 158, 307; V., 3, 47; Duke of Milan, I., 1, 74; III., 1, 221; V., 4, 18; Emperor of the East, II., 1, 73, 147; III., 1, 28; III., 2, 82; V., 3, 189; Renegado, I., 2, 78; II., 4, 95. Cf.

ness is so

ose but cast s

ent" occurs in Ne

9

V., 3, 42; Parliament of Love, II., 3, 70; Guardian, V., 4, 231; New W

9

, 28; IV., 3, 62; V., 2, 52; Renegado, I., 1, 138; IV., 3

9

; Bashful Lover, IV., 1, 200; Picture, II., 2, 337; Believe

9

Guardian, IV., 1, 77; Duke of Milan, II., 1, 138; Believe a

9

283; Bondman, I., 3, 23.

9

t of Love, V., 1, 221; Guardian, I., 1, 192; III., 6, 17; V., 2, 132; Bas

9

212; Parliament of Love, II., 3, 94; Guardian, II., 5, 59; V., 2, 52; Emperor of the East, II., 1, 355; IV., 5,

9

peror of the East, V., 3, 109; Renegado, II., 5, 159; Unnatural Combat, V., 2, 266. Cf. Hamlet, II., 2, 159; Troilus and Cressida, I., 3, 85

9

147; II., 1, 65; III., 3, 143; Bondman, III., 2, 1; III., 3, 162; IV., 3, 6; V., 3, 156; Renegado, III., 5, 44; Picture, I., 1, 79; II., 2, 130 and 155; IV., 1, 65; Guardian, III., 6, 31; Emperor of the East,

0

Want-Wit washing of an Ethiopian with intention to make him white, but the more they washed him, the blacker he was." Warner, in his translation of The Menaechmi

0

y, V.,

0

the East, I

0

he Bashful Lover, IV., 1, 138; V., 1, 56; A New Way, I

0

ure, II.

0

ove, V., 1, 149. We cannot but remember poor Valen

0

, 1

0

, 2,

0

, 7

0

death-bed scene in The

1

, VII

1

is edition of Aristotle's Poetics (p. 253), recommends collaboration: "On seroit tenté de croire qu'un drame devrait être l'ouvrage de deux hommes de génie, l'u

μνου συνερ

αι φιλο?σ

ly death of Beaumont was

1

ue-Hilario in The Picture-though lu

1

e was an author of surprising vigour, and a master of strong

1

. B.

1

Virgin Martyr, III., 1, 163-182) remind

1

.,

1

ene,

1

.,

1

touch of Massinger when dealing with the to

2

I., 1-Emperor of the East

2

-Fatal Dowry

2

tor, IV., 2, 103. Cf.

2

1-passim i

2

1-passim i

2

arliament of Lo

2

1-Renegado

2

, 2, 25. (Cf. also Prolog

2

IV., 1, 155; Believe

2

man Actor,

3

7-Roman Act

3

tation of the Morality (History of English Poetry, vo

3

rrels. One or two passages seem to be inspired by sarcasm direct

3

eserved as Fletcher's collaborator in so many plays. Gerard Langbaine, in his Account of the English Dramatic Poets (Oxford, 1691), pp. 353-60, deals thus with Massinger: "He was extremely beloved by the poets of that age, and there were few but what took it as an honour to club with him in a play-witness Middleton, Rowley, Field, and Dekker, all which join'd with him in s

Madam, since

emish, is a

r best

46) show the familiar combinati

am rich in,

pe with aught d

ittle and give

have, is tr

3

wry; Farnese and Uberti in The Bashful Lover; Cleremond and Montrose in The Parliament

3

st. He speaks with feeling of the ungratefulness of courtie

3

., 1, 34; Great Duke of Florence, II., 1, 138; Sir J. V. O. Barnavelt, I., 1 (p. 215, Bullen'

3

e words of Paulo in A V

fi

and o'ercomes

virtue, pass

I., 1, 113; Duke of Milan, III.

at I c

ly pat

ove, p. 115, n. 11. Qu

w the passive fo

's Progre

With all

rmour, anvil

ive for

d in Swinburne's excell

3

an enemy to 't [i.e., music], Beaumont," and ends by

3

,

4

o V., 2

4

2,

4

Love, IV., 2, 61; "on black-sail'd wings of loose and base desires," Parliament of Love, V., 1, 215; "Such is my full-

must a

ll-sailed confid

oman, II

4

and swing" (so in Great Duke of Florence, II., 2, 46); Fatal Dowry, IV., 1, 193, "confessor and confounder"; Old Law, III., 2, 45, "die and dye"; ibid., 157, "venues in Venice glasses"; IV., 1, 61, "Siren and Hiren"; City Madam, I., 1, 36, "hole and hell"; V., 2, 77, "lords or lowns"; Guardian, I., 1, 60, "house and home"; II., 2, 23, "board and bed"; II., 5, 46, "fair and

4

pours are to the traveller; he follows it at all adventures; it is sure to lead him out

4

., 1, is intentional and effective. Cf. Kitely's repetition of "Thomas" in Every Man in His

4

ssinger in part to Charles Lamb's "unfair judgment." "The hard fate that accompanied the 'stage poet' through life has clung to him up to the present time, a

4

ii. of Monck M

4

xplanation, s

4

bounty (Act I., 1, 2). We may compare J. Taylor's Holy Living, Sec. VIII.,

5

r in Hroswitha's Gallicanus. The plays of Hroswitha have obvious affinities

5

"l'homme fort." The part has been taken by many of our great actors, notably Garrick, who revived it in 1745. Cf. W. Hazlitt's Dramatic Essays for the performances of Kean and Kemble i

5

, 1, 81

5

1,

5

, 1,

5

my Minerva." It was printed in 1629. It is interesting to compar

5

., 1, 160-168; and that of

5

ch in I., 1, 21-26, and Steph

5

lties which are involved in the infliction of torture on the stage, as in III., 2. Again, it is improbable that the actors should have been waiting, as in IV., 1, outside the private gardens,

5

ogue

ach

fancy, judgment

orm'd so, as mi

lcome, and n

6

, 28, and

6

,

6

lates reminds us of the Umbrana

6

78, suggests that in the first draft of th

6

.,

6

I.

6

I.

6

.,

6

, 2,

6

, 1

7

196; V

7

5,

7

, 1,

7

,

7

, 1

7

Martyr, I., 1,

7

gue,

7

, III., 3, 60 and 123; Lorenzo, IV., 1, 167; Matilda again, IV., 1, 184; Alonz

7

f. II., 4, 21; II., 6, 51; II., 7, 69

7

S.,

8

l at Camiola's lot may be paral

8

g, as the name would seem to imply, a canny Scot, dedicated the first edition "to the truly noble John North Esquire," and the second, totidem verbis, "to the truly noble and virtuous La

8

haksperian "fool"; but what a contrast ther

8

er's

8

, 1

8

rza, in I., 3, works up to his

8

ncisco points out that nothing suc

8

6. Cf. IV

ature, Duke, a

olent

30; I., 3, 369

8

, 111

8

I.

9

1,

9

er all, some people prefer their yew-trees cut into cocks and hens, while others do not. I can imagine a being who would prefer Gounod's Romeo and Juliet to Shakspere's. In The Fair Penitent, the law-court scene, the father's funeral, and the music-master disappear. We get the "gay Lothario" from this once popular play. Mr. Phelan (p. 60) has prope

9

t, III., 2, 144, an

9

., 1,

9

marry Beaumelle. Cf. I

9

he authorship of the

9

reminds us of Malefort's passion; but Massinger is a b

9

III., 2, 32-41, should, how

9

ver, Sir John Van Old

9

speech about Cup

0

hat Cleremond and Leon

0

taining the incident referred to in II., 2, 93-100; (c) a scene in which Beaupré obtained Chamont's protection, and asked for an introduction to Bellisant (cf. V., 1, 470). Bellisant may also have appeared before

0

ke people who cannot keep a secr

0

this play and the MS., se

0

451a, 16,

0

Massinger occur, but they

re and there. (The same applies to

position." (Cf. Believe

1,

How do yo

leanthes, n

enry VIII

The first cou

94: Lysande

e especially line

1, 5

132: Lysand

, 156

' speech. (Notice the par

hat of Middleton in 1599, and points out that Rowley was only fourteen years of age in that year. "If Massinger had any share in the play, it was in revision, after Middleton's death in 1627." Gayley dates the play 1614-16. It must be pointed out

of justice, and it is highly probable t

0

e (p. 121), I., 1, 66; II., 1, 210, 265; II., 2, 119; V., 1, 546, 550, 605, 650; and words dou

0

ove's Triumph through Callipol

0

Plays, vol.

0

K. Deighton (G. Bell, 1893). Brander Matthews has also ed

1

3,

nax, as

eaks thee, tho

r of t

1

e, I.,

1

nson's Staple of News,

app

οχ?ν, a

1

1, 1

1

e East, II.,

1

, 4,

1

, μητρ?θεν δεδεγ

1

, 5

1

us fra

αχε?, κε?ν

υκ?να? ?

1

1,

2

?? τ? ?π

2

, 5

2

δραμε κροκοβαφ??

2

Vol. I., ix., "Scholars

2

is. The play has been attributed in part to Massinger, but the fact cited, though interesting,

2

1.,

2

.,

2

.,

2

.,

2

ed in finding the

3

, 1, 54, may be scanned with

3

e Emperor of the East is more doubtful. Cf. I

3

a Byzantine Greek of the time would have pronounced them. Cf. in Marlowe's Tamburlaine, Pt. II., IV., 4: "As in the theoria of the world." A simil

the East, I., 1, 45, seems

3

. 19,

3

ch he allots to Massinger. A. H. B. = Mr. Bullen, A. H. C. = the writer. Macaulay's views wi

3

C., p.

3

pp. lxxx

3

Hill's poem des

3

ultimately reduced to a few lines in IV., 1! I cannot agree with him that Massinger wrote any of The Coxcomb, The Faithful Friends, or Love's Pilgrimage. In The Faithful Friends the metre is very careless, and the occasional bursts of bombast are not like Massinger. There are touches of his style in the play, which suggest that a pupil may have helped Fletcher. The Coxcomb and Love's Pilgrimage seem to me very characteristic works of Beaumont and Fletcher. Mr. Oliphant has also

3

lled with Kind

ound, increase

tain which my

the Mill, V.

call a molehill a scab u

4

One, III

and crooked c

4

ir nuptials will with bounty furnish ours.-Act III., 2: Quicksilver. Your father, and some one more, stole to chur

4

0, 184, 195, etc. In the Agamemnon and Alcestis, to take no other plays, note the

4

ny metrical significance in Massinger. It is, indeed, very frequently found, so frequently as to be no criterion of h

4

59,

4

in facsimile in the Percy Society volume. But would Ma

4

ve seen in MS., which I am assured was acted, by the proper quotations, etc. The title runs thus: 'Believe as you list, written by Mr. Massinger, with the following licence: "This play, c

4

: II., 2, 368; III., 1, 20; I

4

ses of Alleyn's, and the fourth is added to Daborne's signature to the document mentioned by Cunningham in his Preface (p. xii.). The poem "Sero sed serio" is

the poet's, besides his poverty, is a

h

^silen

It is neat and full of flourishes, especially in the letter L. It is, of course, possible that Massinger wrote this in 1619. The stage directions are in a bolder hand and deep black ink. They are plainly part of the MS., and n

4

86; II., 1, 51; II., 2, 217; II., 2, 36

5

67; I., 2, 72; II., 2, 52; II., 2, 56;

5

: II., 2, 285; IV.

5

, 2, 98; II., 2, 240; I

5

. 15,

5

the imprisonment at Naples, and agrees with Cayet almost verbally until the latter part. The Continuation of the Lamentable Adventures (London, 1603) is very dull, and contributes nothing except the advice of an old man to Sebastian, which may have suggested the first scene of the play. The two trac

5

ays "His stature! sp

5

2,

5

2,

5

2,

5

ures Mistress Carol ascribes to Fairf

6

2,

6

1,

6

1,

6

ety's Papers, vo

6

Society's Pa

6

Hamlet incomparably well." C

6

2,

6

, and cf. The Al

6

ea Voyage

6

178,

7

, 3, 51; III., 2, 31; III., 3, 1

7

better sense if it

ther penance t

ans that he des

7

play was produced in August, 1619, after some objec

7

nger's style. Inter alia, he says, "Fletcher as usual spoiled Massinger's fin

7

sley's Old English Plays, ed.

7

t it is curious to note that Goffe and Massinger are in juxtapositi

7

a, p

7

as being by Massinger. Mr. P. Simpson has pointed out to me that The Second Maiden's Tragedy is entered on the Stationers' Registe

7

IV

7

n, op. ci

8

282) seems disposed to

8

s Pity She's a Whore where Annabella give

8

A Tric

s not an emb

favourite word

amends for my undoing, yet there's some comfort in't, he cannot otherwise choose, though

of the widow's lands too may one day f

ay, IV.

h. 'Tis

's land, for thes

ge on him I kn

soon b

I have a wealthy uncle, i' th' city,

own nephew, Lucre, lay his lands into bonds, and

ay, I.,

uncle, Sir Giles O

ot to lose a

tgages, statut

ed your looseness,

, 1

my glory, though I

issue whom I

o mine as

fault, nephew; you're a strange

y, III.,

ch. My

long a stranger;

et it b

ld forswear ... muscadi

ay, IV.

Your worsh

you with musca

ay have suggested the thoughts which Sir Giles entertains a

Way, IV.,

ck, I

at your worship's device in

ddle with no

ay, II.

. The oth

cribe us a wel

ht to others,

e not

8

eat Duke of Florence, transfers to Italy A Kn

8

serted in a space left b

8

ote in a t

8

prec

8

t

8

sappeared, and at the end of line 22 rather less

8

nt is in t

9

edited by C. Ainger, vol.