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[Eglamour goes out, but comes in again.
Eg. But she, as chaste as was her name,
Dy'd undeflower'd: and now her sweet soul
Here in the air above us; and doth haste
To get up to the moon, and Mercury:
And whisper Venus in her orb; then spring
Up to old Saturn, and come down by Mars,
Consulting Jupiter, and seat herself

Just in the midst with Phoebus, temp'ring all
The jarring spheres, and giving to the world
Again his first and tuneful planetting!
O what an age will here be of new concords!
Delightful harmony! to rock old sages,
Twice infants, in the cradle o' speculation,
And throw a silence upon all the creatures!
[He goes out again, but returns as soon as

Kar. A cogitation of the highest rapture! g. The loudest seas, and most enraged winds, [hoarse, Shall lose their clangor; tempests shall grow Loud thunder dumb, and every speece of

storm 2

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-TEMPEST shall grow hoarse,

Or ours, I fear! he starts away from hand so,
And all the touches or soft strokes of reaso
Ye can apply! no colt is so unbroken!
Or hawk yet half so haggard or unmann'd
He takes all toys that his wild phant'sie pro-
And flies away with them. He now con
That my lost sister, his Earine,

Is lately turn'd a sphere amid the seven;
And reads a musick-lecture to the planets!
And with this thought he's run to call 'en

Cla. Alas, this is a strain'd, but innocent phant'sie!

I'll follow him, and find him if I can: Meantime, go you with Lionel, sweet Karol He will acquaint you with an accident, Which much desires your presence on the place.

SCENE IV. Karol, Lionel.

Kar. What is it, Lionel, wherein I may

serve you? [me Why do you so survey and circumscribe As if you stuck one eye into my breast, And with the other took my whole dimer sions *.

Lio. I wish you had a window i' your be


Or i' your back, I might look thorough you, And see your in-parts, Karol, liver, heart For there the seat of love is: whence the bo (The winged archer) hath shot home a sha Into my sister's breast, the innocent Amie. Who now cries out, upon her bed, on Karo Sweet-singing Karol! the delicious Karel, That kiss'd her like a Cupid! in your ex6 She says, his stand is! and between yo. lips

He runs forth his divisions to her ears, But will not 'bide there, 'less your self bring him.

Go with me, Karol, and bestow a visit, In charity, upon the afflicted maid, Who pineth with the languor of your love. Maud. Whither intend you? "Amie is cover'd, [lately Feels no such grief as she complain'd [To them Maudlin and Douce, but Maw lin appearing like Marian.

This maiden hath been with her from ho mother [sent on

Maudlin, the cunning woman, who ha

Loud thunder dumb, and every SPEECE of storm.] Tempest pests; the s was dropt as the next word began with that letter. every kind or appearance; speece from the Latin species.

should be evidently ter Every specce of storin, ie,

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 mcasuring things with a compass, which hath one foot fixed, and the other extended to form the circle.

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Have wrought upon her a miraculous cure!
Settled her brain to all our wish and wonder!
Lio. So instantly? you know I now but
left her,


Possess'd with such a fit almost t' a phrensie:
Yourself too fear'd her, Marian, and did
My haste to seek out Karol, and to bring
Maud. I did so. But the skill of that wise

And her great charity of doing good,
Hath by the ready hand of this deft lass
Her daughter, wrought effects beyond be-

And to astonishment; we can but thank,
And praise, and be amazed, while we tell it.
[They go out.

Lio. 'Tis strange, that any art should so help nature

In her extremes.

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

Enter Robin Hood.

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Maudlin, Puck-hairy.

Maud. Hath he forsook me?
Puck. At your beck, madam.

Maud. O Puck, my goblin! I have lost

my belt,

[from me. The strong thief, Robin Out-law, forc'd it Puck. They are other clouds and blacker threat you, dame;

You must be wary, and pull in your sails,
And yield unto the weather of the tempest.
You think your power's infinite as your ma

And would do all your anger prompts you
you must wait occasions, and obey them:
Sail in an egg-shell, make a straw your mast,
A cobweb all your cloth, and pass unseen,
Till you have 'scap'd the rocks that are
about you.

Maud. What rocks about me?
Puck. I do love, madam,

To shew you all your dangers, when you
are past 'em.

[pilot, Come, follow me, I'll once more be your And you shall thank me.

Maud. Lucky, my lov'd goblin!
Where are you gaang now?

Lor. Unto my tree,

To see my maistress.

[Lorel meets her.

Maud. Gang thy gait, and try

Thy turns with better luck, or hang thy sel'.*

* 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 completed. 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 Vulcan: 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 Ꭲ


posterity can only bewail the perversity of taste, in their injudicious ancestors, whose ds couragement of the first, contributed to deprive us of the second pastoral drama, that would do honour to the nation. What we now have, serveth only to increase our regret; like the 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 less exquisite and charming. In the former case the deficiency is not so much deplored, from our inability to judge of the perfection of the whole; and in the latter, we are very little anxious for what appears to be hardly worth preserving; but when a piece is so far advanced, 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 pušta which still subsist.

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"THE FIRST ACT comprehends Mortimer's pride and security, raised to the degree of "an earl, by the queen's favour and love; with the counsels of Adam d'Orlton, the politic bishop of Worcester, against Lancaster."

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The Chorus of ladies, celebrating the worthiness of the queen, in rewarding Mortimer's services, and the bishop's.

"The SECOND ACT shews the king's love and respect to his mother, that will hear "nothing against Mortimer's greatness, or believe any report of her extraordinary favours "to him; but imputes all to his cousin Lancaster's envy, and commands thereafter an "utter silence of those matters."

The Chorus of courtiers celebrating the king's worthiness of nature, and affection to his mother, who will hear nothing that may trench upon her honour, though delivered by his kinsman, of such nearness; and thereby take occasion to extol the king's piety, and their own happiness under such a king.

"The THIRD ACT relates (by the occasion of a vision the blind earl of Lancaster had) "to the king's brother, earl of Cornwall, the horror of their father's death, and the cunning "making away with their uncle, the earl of Kent, by Mortimer's hired practice." The Chorus of country-justices, and their wives, telling how they were deluded, and made believe the old king lived, by the shew of him in Corfe-castle; and how they saw him eat, and use his knite like the old king, &c. with the description of the feigned lights and masques there, that deceived 'em, all which came from the court.

"The FOURTH Aст expresseth, by conference between the king and his brother, a change, and intention to explore the truth of those reports, and a charge of employing "W. Mountacute to get the keys of the castle of Nottingham into the king's power, and "draw the constable, sir Robert d'Eland, to their party."

Mortimer's security, scorn of the nobility, too much familiarity with the queen, related by the Chorus. The report of the king's surprizing him in his mother's bed-chamber: a general gladness. His being sent to execution,

"The FIFTH ACT, the earl of Lancaster's following the cry, and meeting the report. "The celebration of the king's justice."

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Is a great lord of late, and a new thing
A prince, an earl, and cousin to the king'.
At what a divers price, do divers men
Act the same things! another might have


Perhaps the hurdle, or at least the axe,
For what I have this crownet, robes, and
There is a fate, that flies with tow'ring
Home to the mark, and never checks at
[may make
Poor plodding priests, and preaching friars
Their hollow pulpits, and the empty iles
Of churches ring with that round word:
but we
That draw the subtile and more piercing
In that sublimed region of a court,
Know all is good, we make so, and go on
Secur'd by the prosperity of our crimes.
To-day is Mortimer made earl of March.
For what? For that, the very thinking it
Would make a citizen start! some politic

Curl with the caution of a constable !
But I, who am no common-council-man,
Knew injuries of that dark nature done
Were to be thoroughly done, and not be

To fear of a revenge. They are light offences Which admit that. The great ones get above it.

Man doth not nurse a deadlier piece of folly To his high temper, and brave soul, than


Of fancying goodness, and a seal to live by So differing from man's life. As if with

lions, [of prey, Bears, tygers, wolves, and all those beasts He would affect to be a sheep! Can man Neglect what is so, to attain what should be, As rather he will call on his own ruin, Than work t'assure his safety? I should think [good, When 'mongst a world of bad, none can be

(I mean, so absolutely good and perfect, As our religious confessors would have us) It is enough we do decline the rumour Of doing monstrous things: and yet, if those

Were of emolument, unto our ends,

Even of those, the wise inan will make friends

For all the brand, and safely do the ill,
As usurers rob, or our physicians kill.
Isabel, Mortimer.

Isab. My lord! sweet Mortimer!
Mor. My queen! my mistress!

My sovereign nay, my goddess! and my


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He died, and left it unfinished.



Is a great lord of late, and a new thing! At this line we have a marginal annotation, which being a verse, and rhiming to the other, as well as explanatory of the sentiment, was probably designed by the poet as a part of his work. If we admit it in the text, the whole will run thus;


Is a great lord of late, and a new thing!

A prince, an earl, and cousin to the king.

This last verse has stood, in all preceding editions, as a note only.

As if I felt it DACTILE through my blood.] Dactile is a word of no meaning; and though all the editions concur in the reading, the present text will probably be thought the

least erroneous.

Had the poet lived to have completed this poem with the same spirit in which he began it, we should have been able to boast of one perfect tragedy at least, formed upon the Grecian model, and giving us the happiest imitation of the antient drama.

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