Preface PREFACE.The fourth and final volume of this Collection of Old Plays ought to have been issued many months ago. I dare not attempt to offer any excuses for the wholly unwarrantable delay. In the preface to the third volume I stated that I hoped to be able to procure a transcript of an unpublished play (preserved in Eg. MS. 1,994) of Thomas Heywood. It affords me no slight pleasure to include this play in the present volume. Mr. JEAVES, of the Manuscript Department of the British Museum, undertook the labour of transcription and persevered to the end. As I have elsewhere stated, the play is written in a detestable hand; and few can appreciate the immense trouble that it cost Mr. JEAVES to make his transcript. Where Mr. JEAVES' labours ended mine began; I spent many days in minutely comparing the transcript with the original. There are still left passages that neither of us could decipher, but they are not numerous. I may be pardoned for regarding the Collection with some pride. Six of the sixteen plays are absolutely new, printed for the first time; and I am speaking within bounds when I declare that no addition so substantial has been made to the Jacobean drama since the days of Humphrey Moseley and Francis Kirkman. Sir John Van Olden Barnavelt has been styled by Mr. Swinburne a "noble poem." Professor Delius urged that it should be translated into German; and I understand that an accomplished scholar, Dr. Gelbeke of St. Petersburg, has just completed an admirable translation. Meanwhile the English edition[1] has been reproduced in Holland. In the original announcement of this Collection I promised a reprint of Arden of Feversham from the quarto of 1592; I also proposed to include plays by Davenport, William Rowley, and Nabbes. After I had transcribed Arden of Feversham I determined not to include it in the present series. It occurred to me that I should enhance the value of these volumes by excluding such plays as were already accessible in modern editions. Accordingly I rejected Arden of Feversham, Sir John Oldcastle, Patient Grissel, and The Yorkshire Tragedy. The plays of Davenport, William Rowley, and Nabbes were excluded on other grounds. Several correspondents suggested to me that I should issue separately the complete works of each of these three dramatists; and, not without some misgivings, I adopted this suggestion. I acknowledge with regret that the printing has not been as accurate as I should have desired. There have been too many misprints, especially in the first two volumes;[2] but in the eyes of generous and competent readers these blemishes (trivial for the most part) will not detract from the solid value of the Collection. It remains that I should thank Mr. BERNARD QUARITCH, the most famous bibliopole of our age (or any age), for the kind interest that he has shewn in the progress of my undertaking. Of his own accord Mr. QUARITCH offered to subscribe for one third of the impression,—an offer which I gratefully accepted. I have to thank Mr. FLEAY for looking over the proof-sheets of a great part of the present volume and for aiding me with suggestions and corrections. To Dr. KÖHLER, librarian to the Grand Duke of Weimar, I am indebted for the true solution (see Appendix) of the rebus at the end of The Distracted Emperor. Mr. EBSWORTH, with his usual kindness, helped me to identify some of the songs mentioned in Everie Woman in Her Humor (see Appendix). 17, SUMATRA ROAD, WEST HAMPSTEAD, N.W.8th October, 1885. INTRODUCTION TO TWO TRAGEDIES IN ONE.Of Robert Yarington, the author of Two Tragedies in One absolutely nothing is known. There is no mention of him in Henslowe's Diary, and none of his contemporaries (so far as I can discover) make the slightest allusion to him. The Two Tragedies is of the highest rarity and has never been reprinted before. There are two distinct plots in the present play. The one relates to the murder of Robert Beech, a chandler of Thames Street, and his boy, by a tavern-keeper named Thomas Merry; and the other is founded on a story which bears some resemblance to the well-known ballad of The Babes in the Wood. I have not been able to discover the source from which the playwright drew his account of the Thames Street murder. Holinshed and Stow are silent; and I have consulted without avail Antony Munday's "View of Sundry Examples," 1580, and "Sundry strange and inhumaine Murthers lately committed," 1591 (an excessively rare, if not unique, tract preserved at Lambeth). Yet the murder must have created some stir and was not lightly forgotten. From Henslowe's Diary[3] (ed. Collier, pp. 92-3) we learn that in 1599 Haughton and Day wrote a tragedy on the subject,—"the Tragedy of Thomas Merrye." The second plot was derived, I suppose, from some Italian story; and it is not improbable that the ballad of the Babes in the Wood (which was entered in the Stationers' Books in 1595, tho' the earliest printed copy extant is the black-letter broadside—circ. 1640?—in the Roxburghe Collection) was adapted from Yarington's play. Although not published until 1601, the Two Tragedies would seem from internal evidence to have been written some years earlier. The language has a bald, antiquated look, and the stage-directions are amusingly simple. I once entertained a theory (which I cannot bring myself to wholly discard) that Arden of Feversham, 1592, Warning for Fair Women, 1599, and Two Tragedies in One, 1601, are all by the same hand; that the Warning and Two Tragedies, though published later, were early essays by the author whose genius displayed its full power in Arden of Feversham. A reader who will take the trouble to read the three plays together will discover many points of similarity between them. Arden is far more powerful than the two other plays; but I venture to think that the superiority lies rather in single scenes and detached passages than in general dramatic treatment. The noble scene of the quarrel and reconciliation between Alice Arden and Mosbie is incomparably finer than any scene in the Warning or Two Tragedies; but I am not sure that Arden contains another scene which can be definitely pronounced to be beyond Yarington's ability, though there are many scattered passages displaying such poetry as we find nowhere in the Two Tragedies. That Yarington could write vigorously is shown in the scene where Fallerio hires the two murderers (who remind us of Shagbag and Black Will in Arden) to murder his nephew; and again in the quarrel between these two ruffians. Allenso's affection for his little cousin and solicitude at their parting are tenderly portrayed with homely touches of quiet pathos. The diction of the Two Tragedies is plain and unadorned. In reading Arden we sometimes feel that the simplicity of language has been deliberately adopted for artistic purposes; that the author held plenty of strength in reserve, and would not have been wanting if the argument had demanded a loftier style. In Yarington's case we have no such feeling. He seems to be giving us the best that he had to give; and it must be confessed that he is intolerably flat at times. It is difficult to resist a smile when the compassionate Neighbour (in his shirt), discovering poor Thomas Winchester with the hammer sticking in his head, delivers himself after this fashion:— "What cruell hand hath done so foule a deede, Merry's "last dying speech and confession" is as nasty as such things usually are. In the introduction to Arden of Feversham I intend to return to the consideration of Yarington's Two Tragedies. Two Lamentable Tragedies. The one, of the Murther of Maister Beech A Chaundler in The other of a Young childe murthered in a Wood by two Ruffins, with the consent of his Vnckle. By ROB. YARINGTON. LONDON.Printed for _Mathew Lawe, and are to be solde at his Shop in Paules Church-yarde neere vnto S. Austines Gate, at the signe of the Foxe. 1601. Two Tragedies in One. Enter Homicide, solus. I have in vaine past through each stately streete, Enter Avarice. But here comes Avarice, as if he sought, Ava. Why, what carst thou? I seeke for one I misse. Ho. I may supplie the man you wish to have. Ava. Thou seemes to be a bold audatious knave; I doe not like intruding companie, That seeke to undermine my secrecie. Ho. Mistrust me not; I am thy faithfull friend. Ava. Many say so, that prove false in the end. Ho. But turne about and thou wilt know my face. Ava. It may be so, and know thy want of grace. Hom. Knowst thou a hart wide open to receive, Ava. I know two men, that seem two innocents, Enter[4] Trueth. I know their harts relentlesse, mercilesse, Hom. If gaine will draw, I prethy then allure Cove. The plots are laide, the keyes of golden coine, Hom. Why, let her weepe, lament and morne for me, We are right bred of damn'd iniquitie, And will go make a two-folde Tragedie. [Exeunt. Truth. Goe you disturbers of a quiet soule, [Exit. [ACT THE FIRST.][SCENE I.]Enter Merry. I live in meane and discontented state, Enter Beech and a friend. Which may in time advance my humble state Ne. Come neighbour Beech, lets have our mornings draught Beech. He's so indeede; his conversation Mer. Your welcome, neighbour, you are welcome, sir; I praie sit downe, your verie welcome both. Beech. We thanke you for it, and we thinke no lesse. Mer. Hoe, sister Rachell! Rach. I come presently, Enter Rachell. Mer. Goe draw these gentlemen two cans of beare. Rach. My selfe was busie dressing up the house: As for your man he is not verie well, But sitteth sleeping by the kitchen fier. Mer. If you are busie, get you up againe; [Exit. Ile draw my neighbours then their drinke my selfe, Ile warrant you as good as any mans,— And yet no better; many have the like. [Exit for Beare. Neigh. This showes him for a plain and honest man, Beech. Hees none of those, but beares an honest minde, And shames to utter what he cannot prove. Enter Merry. But here he comes: is that the best you have? Mer. It is the best upon mine honest worde. Beech. Then drinke to us. Mer. I drinke unto you both. Nei. Beech. We pledge you both, and thanke you hartelie. Beech. Heres to you sir. Neigh. I thank you. [Maister Beech drinkes; drinke Neighbour. Neigh. Tis good indeed and I had rather drinke Mer. Tis true indeede; if all were of your mind, My poore estate would sooner be advanc'd, And our French Marchants seeke some other trade. Beech. Your poore estate! nay, neighbour, say not so, For God be thanked you are well to live. Mer. Not so good neighbour, but a poore young man, Neigh. In time no doubt; why, man, you are but young, And God, assure your selfe, hath wealth in store, If you awaight his will with patience. Beech. Thankes be to God I live contentedlie, Neigh. Enough for this; now, neighbour, whats to pay? Mer. Two pence, good sir. Beech. Nay, pray, sir, forbeare; Ile pay this reckoning, for it is but small. Neigh. I will not strive since yee will have it so. Beech. Neighbour, farewell. [Exit Beech and Neigh. Mer. Farewell unto you both. [Exit. [SCENE II.]Enter Pandino and Armenia sicke on a bed, Pertillo Pan. Brother and sister, pray you both drawe neere, Fall. Brother and sister, how my hart laments Arm. Enough, kinde brother; we assure us so, Fall. Assure your selfe, the safest course I can, Shall be provided for your little sonne,— He shall be sent unto the King of Heaven. [To the people. Sostr. Feare not, good brother, and my loving sister, Allenso. Unckle and Aunt take comfort, I will see My little coozen have no injurie. Pan. Ar. We thanke you all, come let the Will be read, Fall.—If it were seald, I would you both were dead. Scrive. Then give attention, I will read the Will. Reade the Will. In the name of God. Amen.—I, &c. Pan. Thus, if my Sonne miscarry, my deare brother, You and your sonne shall then enjoy the land And all the goods which he should have possess'd. Fall. If he miscarry, brother! God forbid! Ar. Thankes, gentle brother; husband seale the will. Pand. Give me a Pen and Inke first to subscribe; Scri. Give me the seale: I pray, sir, take it of. This you deliver for your latest will, And do confirme it for your Testament? Pand. With all my hart; here, brother, keepe my Will, Per. Ah my deere Mother, is my father dead? Ar. I, my sweete boye, his soule to heaven is fled, Allen. Gods holy Angell guide your loving soules Unto a place of endlesse happinesse. Sostr. Amen, Amen. Ah, what a care she had Of her small Orphant! She did dying pray, To love her Childe when she was laide in claye. Scr. Ah blame her not although she held it deare; She left him yonge, the greater cause of feare. Fall. Knew she my mind, it would recall her life, [To the people. Scri. I have. Fall. Then theres two Duckets for your paines. Scri. Thankes, gentle sir, and for this time farewell. [Exit. Sost. Come pretty coozen, cozened by grim death Pert. But give me leave first to lament the losse, Allen. That shall not neede; my father will erect Fall. Surcease, Allenso; thats a booteless cost, Allen. His land! why, father, you have land enough, Fall. Come then, away, that we may take in hand, [Exeunt omnes. [SCENE III.]Enter Merry, solus. Beech hath a score of pounds to helpe his neede, Rach. Here it is brother, I pray you stay not long; Guesse[7] will come in, 'tis almost supper time. [Ex. Ra. Mer. Let others suppe, ile make a bloudier feast Then Merry must passe to Beeches shoppe, who must sit in his shop, and Winchester his boy stand by: Beech reading. What, neighbour Beech, so godly occupied? Beech. I, maister Merry; it were better reade, Then meditate on idle fantasies. Mer. You speake the trueth; there is a friend or two Of yours making merry in my house, And would desire to have your company. Beech. Know you their names? Mer. No truely, nor the men. I never stoode to question them of that, But they desire your presence earnestlie. Beech. I pray you tell them that I cannot come, Mer. In trueth they told me that you should not stay, Goe but to drinke, you may come quick againe,— But not and if my hand and hammer hold. [(To the) people. Beech. I am unwilling, but I do not care, And if I go to see the Company. Mer. Come quickly then, they think we stay too long. Beech. Ile cut a peece of cheese to drink withall. Mer. I, take the farewell of your cutting knife, Beech. I, now I am; boy, looke you tend the shoppe; If any aske, come for me to the Bull. I wonder who they are that aske for me. Mer. I know not that, you shall see presentlie. Then being in the upper Rome Merry strickes Now you are safe, I would the boy were so; [Merry wiped [sic] his face from blood. Lets see what mony he hath in his purse. Enter Rachell and Harry Williams. Wil. Who was it, Rachell, that went up the staires? Rach. It was my brother, and a little man Of black complexion, but I know him not. Wil. Why do you not then carry up a light, But suffer them to tarry in the darke? Rach. I had forgot, but I will beare one up. [Exit up. Wil. Do so, I prethee; he will chide anon. [Exit. [Rachell speaketh to her Brother. Rach. Oh brother, brother, what have you done? Mer. Why, murtherd one that would have murtherd me. Rach. We are undone, brother, we are undone. What shall I say, for we are quite undone? Mer. Quiet thy selfe, sister; all shalbe well. But see in any case you do not tell, This deede to Williams nor to any one. Rach. No, no, I will not; was't not maister Beech? Mer. It was, it is, and I will kill his man, [Exit Rach. Or in attempting doe the best I can. Enter Williams and Rachell. Wil. What was the matter that you cride so lowde? Rach. I must not tell you, but we are undone. Wil. You must not tell me, but we are undone! Ile know the cause wherefore we are undone. [Exit up. Rach. Oh would the thing were but to doe againe! The thought thereof doth rent my hart in twaine. [She goes up. Williams to Merry above. Wil. Oh maister, maister, what have you done? Mer. Why slaine a knave that would have murtherd me; Better to kill, then to be kild my selfe. Wil. With what? wherewith? how have you slaine the man? Mer. Why, with this hammer I knockt out his braines. Wil. Oh it was beastly so to butcher him. Mer. Oh, sir, content your selfe, all shall be well; Whats done already cannot be undone. Rach. Oh would to God, the deed were now to do, Wil. Forsake the house! I will not stay all night, Though you will give the wealth of Christendome. Mer. But yet conceale it, for the love of God; If otherwise, I know not what to do. Wil. Here is my hand, ile never utter it; Assure your selfe of that, and so farewell. Mer. But sweare to me, as God shall help thy soule, Thou wilt not tell it unto any one. Wil. I will not sweare, but take my honest worde, [Exit. [SCENE IV.]Enter Fallerio solus. Fall. I have possession of my brothers goods; Alle. Father. Fall. Hearken, sonne. Allen. So well, good father, that I cannot tell, Fall. How got his safetie such a deepe regarde Within your heart, that you affect it so? Allen. Nature gave roote; love, and the dying charge, Fall. But nature, love, and reason, tells thee thus, Thy selfe must yet be neerest to thyselfe. Allen. His love dooth not estrange me from my selfe, But doth confirme my strength with multitudes Of benefits his love will yeelde to me. Fall. Beware to foster such pernicious snakes Within thy bosome, which will poyson thee. Allen. He is a Dove, a childe, an innocent, And cannot poyson, father, though he would. Fall. I will be plainer: know, Pertillos life, Allen. Father you tell me of a strange discourse. How can his life produce such detriment, As Basiliskes, whose only sight is death? Fall. Hearken to me, and I will tell thee how; Allen. But if I mount by murther and deceite, Fall. What, wilt thou barre thy selfe of happinesse? Allen. Ide rather choose to feede on carefulnesse, To ditche, to delve, and labour for my bread, Nay rather choose to begge from doore to doore, Then condiscend to offer violence To young Pertillo in his innocence. I know you speake, to sound what mightie share Pertillo hath in my affection. Fall. In faith I do not; therefore, prethie, say, Wilt thou consent to have him made away? Allen. Why, then in faithe I am ashamde to think, Fall. Nay if you ginne to brawle, withdrawe your selfe, But utter not the motion[10] that I made, As you love me, or do regarde your life. Allen. And as you love my safetie and your soule, Let grace and feare of God, such thoughts controule. Fall. Still pratling! let your grace and feare alone, Allen. Better you gave me death and buriall, Then such foule deeds should overthrow us all. Fall. Still are you wagging that rebellious tounge! Enter Avarice and Homicide bloody. Hom. Make hast, runne headlong to destruction! Ava. Feare no relenting, I dare pawne my soule, Homi. I finde it true, for where thou art let in, [Exeunt. |