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And martagan"! the shrieks of luckless All this I know, and I will find her for you; owls

[air! And shew you her sitting in her fourm; I'll We hear! and croaking night-crows in the

lay

[skut Green-bellied snakes! blue fire-drakes in My hand upon her, make her throw her the sky!

Along her back, when she doth start before And giddy fitter-mice with leather wings !

(see her The scaly beetles, with their habergeons, But you must give her law: and you shall That make a humming murmur as they fly! Make twenty leaps and doubles : cross the There in the stocks of trees, white faies do

paths, dwell,

And then squat down beside us. And span-long elves that dance about a pool ! Jolin. Crafty croan ! With each a little changeling in their arms ! I long to be at the sport, and to report it. The airy spirits play with falling stars !

Scar. We'll make this hunting of the witch And mount the sphere of fire to kiss the

as famous, moon!

[light, As any other blast of venery zo. While she sits reading by the glow-worms' Scat. Hang her foul hag, she'll be a stinkOr rotten wood (o'er which the worm hath

ing chace. crept)

I had rather ha' the hunting of her beir. The baneful schedule of her nocent charms, Geo. I, we could come to see her, cry so And binding characters, through which she

haw, once 21! wounds

Alk. That I do promise, or I am no good Her puppets, the sigilla of her witchcraft.

hag-finder. -ADDERS TONGUE, And MARTAGAN!] The poet seems to have chose these plants merely for the sake of their names, and not on account of any noxious quality residing in them. Adders tongwe is of a cooling nature, and useful in intiammatory cases: martagan or martagon, is only a kind of lily, of which there are several sorts. But notwithstanding this, the speech is very picturesque, and the description striking. 20 Scar. We'll make this hunting of the witch as famous,

As any other blast OF VENERY.] This last expression may possibly be right, as it was customary to use horns in hunting, and to conclude the death of the hare or deer with a particular lesson upon those instruments; otherwise I should have suspected blast of renera to be a corruption for beast of venery, a beast of chace; the common appellation in the sporting language.

21 Geo. If we could come to see her cry, so Haw once !] We must set right the points o: this line;

If we do come to see her, cry so haw, once. So-ho is the hunter's signal upon tinding a hare sitting.

19

The Argument of the Third Act.

“ PUCK-HAIRY discovereth himself in the forest, and discourseth his offices, with their o necessities briefly; after which, Douce entering in the habit of Earine, is pursued by karai; « who mistaking her at first to be bis sister, questions her how she came by those garments. “ She answers, by her mother's gift. The sad shepherd coming in the while, she runs away

affrighted, and leaves Karol suddenly; Æglamour thinking it to be Earine's ghost be “ saw, falls into a melancholic expression of his phant'sie to Karol, and questions him sadly “ about that point, which moves compassion in Karol of his mistake still. When Clario " and Lionel enter to call Karol to Amie, Karol reports to them Eglamour's passion, with “ much regret. Clarion resolves to seek him. Karol to return with Lionel. By the way, « Douce and her mother in the shape of Marian) meet them, and would divert them, « affirming Amic to be recovered, which Lionel wondered at to be so soon. Robin Hood “ enters, they tell him the relation of the witch, thinking her to be Marian : Robin sus o pecting her to be Maudlin, lays hold of her girdle suddenly, but she striving to get free, “ they both run out, and be returns with the belt broken. She following in her own shape,

demanding it, but at a distance, as fearing to be seized upon again: and seeing she can

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Er is not recover it, falls into a rage, and cursing, resolving to trust to her old arts, which s she calls her daughter to assist in. The shepherds, content with this discovery, go home

triumphing, make the relation to Marian. Amie is gladded with the sight of Karol, fc. - In the mean time, enters Lorel, with purpose to ravish Earine, and calling her forth to “ that lewd end, he by the hearing of Clarion's footing is staid, and forced to commit her

hastily to the tree again; where Clarion coming by, and hearing a voice singing, draws near unto it; but Æglamour hearing it also, and knowing it to be Earine's, falls into a superstitious commendation of it; as being an angel's, and in the air; when Clarion

espies a hand put forth from the tree, and makes towards it, leaving Æglamour to his “ wild phant’sie, who quitteth the place: and Clarion beginning to court the band, and " make love to it, there ariseth a mist suddenly, which darkening all the place, Clarion “ loseth himself, and the tree where Earine is inclosed, lamenting his misfortune, with the “ unknown nymph's misery. The air clearing, enters the witch, with her son and daughter,

" tells them how she had caused that late darkness, to free Lorel from surprisal, and his ringan" prey from being rescued from biin: bids him look to her, and lock her up more care

fully, and follow her, to assist a work she hath in hand of recovering her lost girdle; '" which she lainents the loss of with cursings, execrations, wishing contusion to their feast " and meeting, sends her son and daughter to gather certain simples for her purpose, and “ bring them to her dell. This Puck hearing, prevents, and shews her error still. The

“ huntsmen having found her footing, follow the track, and prick after her. She gets to ce"

“ her dell, and takes her form. Enter, Alken bas spied 'her sitting with her spindle, prat.co threads, and images. They are cager to seize her presently, but Alken persuades them to

“ let her begin her charms, which they do. Her son and daughter come io her; the hunts

men are aitrighted as they see her work go forward. And, over-hasty to apprehend her, " she escapeth them all, hy the help and delusions of Puck.”

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SCENE I.

Puck-hairy,
T E disedobath much to do, that keeps
Or is the father of a family;
Or governs but a country academy:
His labours must be great, as are his cares,
To watch all turns, and cast how to prevent
'em.

(in evil,
This dame of mine here, Maud, grows high
And thinks she does all, when 'tis I, her
devil,

(ber;
That both delude her, and must yet protect
She's confident in mischief, and presuines
The changing of her shape will still secure

her.
But that may fail, and divers hazards meet
Of other consequence, which I must look to:
Not let her be surpriz'd on the first catch.
I must go dance about the forest now,
And firk it like a goblin, till I find her.
Then will my service come worth accepta-

tion:
When not expected of her, when the help

Meets the necessity, and both do kiss:
"Tis call’d the timing of a duty, this.

SCENE II.
Karol, Douce. [To them Łglamour.]
Kur. Sure, you are very like her ! I con-

ceiv'd
You had been she, seeing you run afore me:
For such a suit she made her 'gainst this

feast,
In all resemblance, or the very same;
I saw her in it; had she liv'd t'enjoy it,
She had been there an acceptable guest
To Marian, and the gentle Robin Food,
Who are the crown and ghirland' of the

wood.
Dou. I cannot tell, my mother gave it

me,
And bade ne wear it.

Kur. Who, the wise good woman,
Old Maud of Paplewick?

Dou. Yes, this sullen man
I cannot like him, I must take my leave.

[Æglamour enters, and Douce goes out.

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· Who are the crown, and GARLAND of the wood.] I have chose to give the old manner vt ho una spelling garland, as it is used by Spenser, and as the first copies exhibit it in l.ais manner.

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the place,

som,

£g. What said she to you?

Or ours, I fear! he starts away from hand so. Kar. Who?

And all the touches or soft strokes of reasta Eg. Earine.

Ye can apply! no colt is so unbroken! I saw her talking with you, or her ghost; Or hawk yet half so haggard or unmann'd For she indeed is drown'd in old Trent's He takes all toys tilat his wild pliant'sie pro: bottom.

fers,

[crire Did she not tell who would ha' pull'd her in, And flies away with them. He now conAnd had her maiden-head

upon

That my lost ister, his Earine, The river's brim, the margin of the flood ? Is lately turn’d a sphere amid the seven; No ground is holy enough, (you know my And reads a inusick-lecture to the planets! meaning)

And with this thought he's run to call 'em Lust is committed in king's palaces,

hearers! And yet their majesties not violated !

Cla. Alas, this is a strain'd, but innocent No words!

phant'sie! Kur. Ilow sad and wild his thoughts are ! I'll follow him, and find him if I can: gone?

Meantime, go you with Lionel, sweet Karol [Aglamour goes out, but comes in again. He will acquaint you with an accident, Eg. But she, as chaste as was her name,

Which much desires your presence on th Earine,

(hovers

place.
Dy'd undeflower'd: and now her sweet soul
Here in the air above us; and doth haste

SCENE IV.
To get up to the moon, and Mercury:
And wluisper Venus in her orb; then spring

Karol, Lionel.
Up to old Saturn, and come down by Nars, kar. What is it, Lionel, wherein I ma
Consulting Jupiter, and seat herself

serve you?

[me Just in the midst with Phæbus, temp’ring all Why do you so survey and circumscris

: The jarring spheres, and giving to the world

As if you stuck one eye into my breast, Again his first and tunelul planetting !

And with the other took my whole dine O what an age will here be of new concords !

sions * Delightful harmony! to rock old sages,

Lio. I wish you had a window i' your de Twice infants, in the cradle o' speculation, And throw a silence upon all the creatures !

Ori' your back, I might look thorough a [lle goes out again, but returns as soon as And see your in-parts, Karol, liver, heart b: fore.

For there the seat of love is: whence the bo kur. A cogitation of the highest rapture!

(The winged archer) hath shot home a sha sig. The loudest seas, and most enraged

Into my sister's breast, the innocent Ime winds,

[hoarse, Who now cries out, upon her bed, on kara Shall lose their clangor; tempests shall grow

Sweet-singing Karol! the delicious Karol, Loud thunder dumb, and every speece of

That kiss'd her like a Cupid ! in your éto

She says, his stand is! and between ye. Laid in the lap of list’ning nature husht,

lips To hear the changed chime of this eighth

He runs forth his divisions to her ears, sphere."

But will not ’bide there, 'less your self Take tent, and hearken for it, lose it not.

bring him. [Aglamour departs.

Go with me, Karol, and bestow a visit,

In charity, upon the aftlicted maid,
SCENE III.

Who pineth with the languor of your love.

Maud. Whither intend you ? Amie ist Clarion, Lionel, karol.

cover'd,

[latdı Cla, O here is Karol! was not that the sad Feels no such grief as she complain'di Shepherd slipt from him?

[To them Maudlin and Douce, but Nais Lio. Yes, I guess it was:

lin appearing like Marian. Who was that left

you,
Karol ?

This maiden hath been with her from bi Kur. The last man.

mother

[senta Whom we shall never see himself again ; Maudlin, the cunning woman, who is

-TEMPEST shall grow hoarse, Loud thunder dumb, and every SPEECE of storm.] Tempest should be evidently to pests; the s was dropt as the next word began with that letter. Every speece of storin, ic. every kind or appearance; speece from the Latin species.

3 To hear the changed chime of his eighth sphere.] His should be this, which hath also the authority of the folio.

As if you stuck one eye into my breast,
And with the other took

my

whole dimensions. ] The metaphor borrowed from thsuring things with a compass, which hath one foot fixed, and the other extended to fors the circle.

storm?

9

arms.

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Herbs for her head, and simples of that na- The copy that so cozen'd and deceiv'dug? ture,

I'll carry hence the trophy of your spoils. Have wrought upon her a miraculous cure ! My men shall hunt you too upon the start, Settled her brain to all our wish and wonder! And course yon souniliy. Lio. So instantly? you know I now but Maud. I shall make 'em sport, left her,

And send some home without their legs or Possess'd with such a fit almost t'a phrensie:

(ponds, Yourself too fear'd her, Marian, and did I'll teach 'em to climb stiles, leap ditches, urge

Thim. And lie i' the waters, if they follow me. My haste to seek out Karol, and to bring Rob. Out, murmuring hag. Maud. I did so. But the skill of that wise Mand. I must use all my powers, woman,

Lay all my wits to piecing of this loss. And her great charity of doing good, Things run unluckily: where's my PuckHath by the ready hand of this deft Jass

hairy? Her daughter, wrought effects beyond be

lief, And to astonishment ; we can but thank,

SCENE V. And praise, and be amazed, while we tell it.

Maudlin, Puck-luairy,
[They go out.

Maud. Hath he forsook me?
Lio. 'Tis strange, that any art should so

Puck. At your becki, madam.
help nature
In her extremes.

Maud. O Puck, my goblin ! I have lost

(from me. Kar. Then it appears most real, When th' other is deficient.

The strong thief, Robin Out-law, forc'd it

Puck. They are other clouds and blacker Enter Robin Hood.

threat you, dame; Rob. Wherefore stay you (succours You must be wary, and pull in your sails, Discoursing here, and haste not with your

And yield unto the weather of the tempest. To poor aflicted Amie, that so needs them?

You think your power's infinite as your maLio. She is recovered well, your Marian

lice;

[to; And would do all your anger prompts you

[it! But now here : see, she is return'd taftirm

But you inust wait occasions, and obey them:

Sail in an egg-shell, make a straw your mast, Enter Maudlin like Marian : Maudlin espy- A cobweb all your cloth, and pass unseen,

ing Robin Hood, would run out, but he Till you have 'scap'd the rocks that are
stays her by the girdle, and runs in with
her : he returns with the girdle broken, Maud. What rocks about me?
and she in her own shape.

Puck. I do love, madam,
Rob. My Marian?

To shew you all your dangers, when you
Maud. Robin Hood ? is he here!

are past 'em.

[pilot, Rob. Stay;

Come, follow me, I'll once more be your What was't you ha' told my

friend ?

And you shall thank me. Maud. Help, murder, help!

Máud. Lucky, my lov'd goblin ! You will not rob me, out-law? thief, restore

Where are you gaang now? My belt that ye have broken !

Lor. Unto my tree, (Lorel meets here Rob. Yes, come near.

To see my maistress.
Maud. Not i' your gripe.

Maud. Gang thy gait, and try
Rob. Was this the charined circle ? Thy turns with better luck, or hang thy sel'.*

my belt,

told us

about you.

* I cannot but lament with the reader, the loss of the remaining parts of this play, which we could have borne with the greater patience, had even this act been fortunately conpleted. We have no account how it came down to us in this mutilated condition ; and conjectures can be at best but precarious. Possibly it might have been in the number of those pieces, which were accidentally burnt; though indeed there is no particular mention of it in the Execration upon Vulcuni or Jonson might have undertaken it in the decline of his days, and did not live to finish it; as was the case with his tragedy of Mortimer; and to this conjecture we are induced by the first line of the prologue,

“ He that hath feasted you these forty years." There is indeed one reason, which might lead us to believe, that the poet left it unfinished by design. He beheld with great indignation the ungenerous treatment which Fletcher's Faithful Shepherdess met with from the people, at its first appearance; and he was witness also to the small encouragement that was shewn to its revival, under the patronage of Charles I. Possibly these circumstances deterred him from going through with the performance. As his composition was of a kindred nature with that of Fletcher, he might presage the same unfortunate event, should he ever introduce it on the stage. So that

4 T

posterity posterity can only bewail the perversity of taste, in their injudicious ancestors, whose dr couragement of the first, contributed to deprive us of the second pastoral drama, that woud do honour to the nation. What we now have, serveth only to increase our regret; whet remains of some ancient master, which beget in us the most inexpressible desire of a perfect statue by the same hand. When a work is not completed by its author, or maimed by the hand of time, one would either wish the remains to be inconsiderable, or the beauties is exquisite and charming. In the former case the deficiency is not so niuch deplored, from our inability to judge of the perfection of the whole; and in the latter, we are very litti anxious for what appears to be hardly worth preserving; but when a piece is so far ad vanced, as to convince us of the excellence of the artist, and of its own superior delicacy we are naturally touched with concern for what is lost, and set a proper value on the pro which still subsist.

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