Source materials Page
近代人とその文学の誕生
参考書：原英一『〈徒弟〉たちのイギリス文学　小説はいか
に誕生したか』（岩波書店、2012）
ディック・ホイッティントン伝説
from Dictionary of National Biography
Whittington, Richard d. 1423
Whittington, Richard (d. 1423) , mayor of London; son of Sir
William Whittington, perhaps of Pauntley, Gloucestershire;
mercer in London; member of Common Council, 1385 and 1387;
alderman for Broad Street ward, 1393; sheriff, 1394; mayor,
1397-8, 1406-7, and 1419-20; MP for London, 1416; married
Alice, daughter of Sir Ivo Fitzwaryn, who possessed landed
property in the south-western counties; acquired considerable
wealth, advanced loans to Richard II, Henry IV, and Henry V, and
was a liberal benefactor of London; left legacies for rebuilding of
Newgate Prison, foundation of an almshouse, and the collegiation
of Church of St Michael de Paternoster-church as Whittington
College (suppressed, 1548). The popular ‘legend’ of Whittington
and his cat, the germ of which is probably of very remote origin,
is not known to have been narrated before 1605, when a dramatic
version and a ballad were licensed for the press. The story of a
cat helping its owner to fortune has been traced in many countries
both of southern and northern Europe.
It has been Whittington’s singular fate to become the hero of a
popular tale which has found an ultimate lodgment in the nursery.
The Whittington of the old ballads, chap-books, and puppet play
started life as a poor ill-treated orphan in the west of England,
and made his way to London on hearing that its streets were
paved with gold. Arriving in a state of destitution, he attracted the
commiseration of a rich merchant, one Mr. Hugh FitzWarren,
who placed him as a scullion in his kitchen, where he suffered
greatly from the tyranny of the cook, tempered only by the
kindness of his master’s daughter, Mrs. Alice. From this state of
misery he was presently released by a strange piece of good
fortune. It was the worthy merchant’s custom when sending out a
ship to let each of his servants venture something in it, in order
that God might give him a greater blessing. To the freight of the
good ship Unicorn Whittington could only contribute his cat,
which he had bought for a penny to keep down the vermin in his
garret; but the vessel happening to touch at an unknown part of
the Barbary coast, the king of the country, whose palace was
overrun with rats and mice, bought the cat for ten times more
than all the freight besides. Meanwhile her owner, unconscious of
his good luck and driven desperate by the cook’s ill-usage, stole
away from Leadenhall Street early in the morning of All Hallows
day, and left the city behind him, but as he rested at Holloway he
heard Bow bells ring out a merry peal, which seemed to say: Turn
again, Whittington, Lord Mayor of London. Whereupon he
returned to his pots and spits, and, the Unicorn soon coming in,
married Mrs. Alice, and rose to be thrice lord mayor of London
and entertain Henry V, after his conquest of France, at a great
feast, in the course of which he threw into the fire the king’s
bonds for thirty-seven thousand marks.
The “legend” of Whittington is not known to have been narrated
before 1605. On 8 Feb. 1604-5 a dramatic version entitled “The
History of Richard Whittington, of his lowe byrth, his great
fortune, as yt was plaied by the prynces servants,” was licensed
for the press (ARBER, Stationers’ Registers, iii. 282). On 16 July
1605 a license was granted for the publication of a ballad called
“The vertuous Lyfe and memorable Death of Sir Richard
Whittington, mercer, sometyme Lord Maiour.” Neither play nor
ballad is known to have survived. The earliest extant references
to the “legend” figure in Thomas Heywood’s “If you know not
me, you know nobody” (act i. sc. i.) published in 1606, and in
Beaumont and Fletcher’s “Knight of the Burning Pestle,” which
appeared five years later. Both references imply that serious
liberties had been taken in the legend with the historical facts.
いつぴき
よ
だいふ
猫一疋の力に憑って大富となりし人の話
南方熊楠（みなかたくまぐす）
ホイッチングトン物語は、わが紀文大尽伝と等しく、英国で誰も
知れる成り金譚なり。予このごろ一篇を綴り、ロンドンの『ノーツ・
エンド・キーリス』に遣（おく）り、この物語の起原を論じたるを、
柳田国男氏の勧めに従い、いささか増補して貴誌に寄す、採録あら
ば幸甚なり。
この物語の大概は、ジック（リチャードの略）
・ホイッチングト
ン少にして孤なり。富商サー・ヒュー・フィッヴァレンの厨奴（ち
ゅうど）たり。主厨に虐せらるるに堪えず、
脱走せしが、
道側に息（や
す）んで、ボー寺（ロンドン）の鐘声を聞きしに、ホイッチングト
ン主家に還らば、三たびロンドン市長たらんと言うがごとし。よっ
て主家に還る。その後ほどなく、主人の持船出航に莅（のぞ）み、
ホイッチングトン、唯一の所有物たる猫一疋を船長に委托す。その
船バーバリーに到りしに、国王国中にはつかねずみ多きを憂うる最
中なりければ、高価もて猫を買えり。船帰るに及び、ホイッチング
トン猫の代金を受け、商売の資本に用い、大富となり、主人の娘を
娶り、その業を紹（つ）ぎ、男爵に叙せられ、三度までロンドン市
長となりしとなり（Webster's International Dictionary of the English
Language, Springfield, 1896, p. 1715）
。一六○五年出板で現存せざる
戯曲、The History of Richard Whittington 以降、この話おいおい俗間
に大いに持て囃さるるに及べり（今年 [1911 年 ] 出板『大英類典』
二八巻六一五頁、下同じ）
。
熊楠、このごろ一切経を抄写するうち、義浄訳『根本説一切有部
毘奈耶』巻三二、仏が愚路ビッシュの因縁を説けるを読むに、次の
物語あり。これおそらくは、仏在世すでにインドに存せし古話にて、
仏滅後数百年経たぬうち、仏説に編入し記載され、その後種々変態
を生じて、ペルシアと欧州諸邦の、猫によって巨富となりし人の物
語となれるものなるべし。
いわく、むかしある村に富人あり。妻を娶って久しからぬに、男
子容貌端正なるを生む。すでに子ある上は自然費用多かるべしとて、
海中に往きて珍宝を求めんとし、妻も承諾す。富人念（おも）うに、
もし多く財を留めて婦人に与えなば、必ず驕（おご）り出て、ろく
なことあるまじとて、少許を妻に与え、同村に相識（し）れる一商
主に悉皆（しっかい）余財を預け、告げていわく、予が不在中妻子
究乏（きゅうぼう）せば済（すく）い給え、と。さて財貨を持ち、
大海を航せしに、破船して死しおわりぬ。金預りし人は、一向死人
の妻子に構わず、かの富人の妻、親族の力を仮り、自営して子を育
てけるが、ようやく長じて、母にわが先祖は何して暮らしたるぞと
問う。母しかじか海を航して交易せりと答えなば、この子また海中
に往き、遭難すべしと憂いて、汝の先祖はこの地にて商売したりと
答う。子、母に白（もう）して、われに銭を与えよ、われも商売せ
んと乞う。母いわく、われ今まで貧にして、親族の力を仮り、わず
かに汝を育てたり、汝に与うべき財物少しもなし、ただしこの村の
某甲（ぼうこう）商主は、
もと汝が父の知人なり、
往きて助力を乞え、
と。
子すなわち商主の家に詣（いた）る。時に、この商主より三度銭
を借り、三度利を失いし人あり。商主瞋（いか）ってその人を召し、
叱責最中なり。ところが家婢、糞掃（ごみ）とともに死せる鼠を持
ち出て棄てんとす。長者これを見てかの人に向かい、汝知らずや、
金儲け上手な者はこの下女が棄てに往く鼠一疋を資本としても、大
身代を仕上ぐるぞと詈（ののし）る。かの若者これを聞いて、もっ
ともなことと感じ、
婢の跡に随い行き、
坑（ほり）に棄てし鼠を拾い、
大市中に到る。ある家に、饑（う）えたる猫を柱に繁げり。鼠を示
すに欲しがりて跳り廻る。主人出で来たりて一捧（ほう）の豌豆（え
んどう）をもって死鼠と交易す。若者、瓦を熱し豆を煎り、衣裙（い
くん）に褒（つつ）み、
冷水を瓶（かめ）に盛り、
村外樵夫（きこり）
の停息すべき処に向かい、彼輩（かれら）の還るを待つ。日晩（ひ
ぐれ）に樵夫群れ帰るを見て、
若者、
今日は暑かった、
しばらく息（い
こ）い給えとて、豆と水を与えければ、樵夫ら、小弟汝は何処へ往
かんとするかと問う。若者われ薪を取りに往くなりと答うるを聞き、
時刻晩（おそ）ければ、往くも益なしとて、おのおのの薪一把ずつ
くれたり。若者これを集めて一担（ひとにな）いとし、
市に往き売り、
得るところの貝歯（たからがい）で豌豆を買い、ことごとく煎り、
冷水一瓶とともに持って、翌夕また樵夫に給す。樵夫ら大いに悦び、
汝日々ここに来たれ、我輩おのおの一樵もて酬ゆべしと約す。かく
しつづけて多く利を獲（え）つ。
この時若者諸人に告ぐ、兄らみずから柴を持って市に向かうは面
倒はなはだし、すべてわが舎に積め、われためにこれを売り、計算
して価を酬ゆるは如何、と。諸人これに従う。ある時、七日雨降り
止まず、柴の価大いに騰り、多く営利す。この上柴を売って人に賎
しまるるは面白からずとて、
雑貨商店を開き、
獲利転（うた）た多し。
これも恥ずべき業なりとて香具屋となり、また大儲け、それから両
替店を開き、ますます繁昌し、他の両替店みな流行（はや）らなく
なるゆえ、同業者嫉んで、鼠一疋から成り上がった店なればと蔑視
し、鼠金舗主と綽号（あだな）す。一同集まりて、かの店あっては
われら廃業の外なし、何とか彼を激して、その父同前、航海貿易して、
難船で死せしめばやと議定す。よってともにかの店近く、話の聞こ
える処に赴き、大声で話すらく、すべて世の中を観るに、先祖の偉
業は、必ず子孫の代に及んで、日に衰え往く。たとえば、最初象に
乗ぜし富人も、だんだん馬に乗るようになり、次に駕籠と変わり、
終（つい）には膝栗毛で徒歩するがごとし。この鼠金舗主も、先祖
以来、
みな大海に入って好珍宝を齎（もたらし）し、みずからも富み、
人をも済（すく）い、遠近に称歎されつるに、この人はようやく小
さき店で、貝歯（たからがい）の両替なんてけちなことで暮らし、
日夜「チョウチョウカイノカイノ十丁十丁」などと、貝の勘定をや
らかし、辛苦生（せい）を求むるが好き実例じゃ、と。舗主これを
聞いて諸人に尋ね、先祖の委細を知り、黙然家に帰り、母に、わが
先祖は航海貿易して富人たりしか、と問う。母さては誰かに聞きし
と見えたり、この上隠し立ても無用と惟い、いかにも祖先みな航海
して大富たりしと答う。
これよりその子、海に入りて珍宝を求めんと言い張りて止まざり
ければ、母ついに許可す。ここにおいて大舶を調え、長風に乗じ、
ただちに宝洲に至る。……多く珍宝を収むること、稲麻穀豆のごと
く、すなわち船中に傾置して、贍（せん）部に還る。かくのごとく
前後七度みな安穏に事遂げ、鼠金舗主、大富無双となる。その母、
汝もはや妻を娶れと勧めしに、子答えて、われ債を還してのち、母
の教えに随わんと言う。母、汝、祖先以来他人に負債せしことなか
りしと訝（いぶ）かるに、子われみずから債あるを知れりとて、金、
銀、玻璃（はり）
、琉璃（るり）の四宝もて鼠四疋を造り、銀盤に
砂金を満てたる上に置き、みずから持って父の旧識なりし商主を訪
う。その時あたかもかの商主諸人と会し、諸君知れりやと、かの鼠
金商主大福徳あり、
もし瓦石を執（と）るもことごとく金宝に成すと、
大法螺（おおぼら）最中のところへ、門番の案内で鼠金商主入り来
たり、宝鼠、金盤を奉っていわく、この鼠が永々恩借（おんしゃく）
の資本、金盤は利足、よろしく改めて受け取り下されませ、と。商
主これを聞いて大いに痛み入り、かつて金子を御用立て申せし覚え
なしと言う。そこで鼠金子、われ十分覚えありとて、往日棄鼠を拾
いし因縁を詳説せしに、商主、汝は誰の子ぞと問う。よって亡父の
名を述べければ、商主いわく、汝すなわちこれわが知識の子、われ
よろしく汝を子とすべし。汝の父出立の日、多少の財物をわが処に
置けるを、いまだ還さざりしとて、すなわち長女をもって彼に許し
て妻たらしめ、瓔珞厳飾（ようらくげんしょく）し、送ってその宅
に至る、と。
この長話は、時代の先後より言わば、ペルシアおよび欧州諸国の
「猫で成り金の物語」の祖先たること疑いを容れざるがごとし。
Thomas Dekker,
The Shoemakers’ Holiday (1600)
[Schene 13]
Enter hodgE at his shop board, ralph, Firk, lacy and a Boy, at work
all [Singing] Hey down, a-down, down derry.
h odgE Well said, my hearts! Ply your work today — we loitered
yesterday. To it, pell-mell, that we may live to be Lord Mayors, or
aldermen at least.
Firk [Singing] Hey down a-down derry.
[Scene 14]
ralph By this shoe, said he. How am I amazed
At this strange accident! Upon my life,
This was the very shoe I gave my wife
When I was pressed for France; since when, alas,
I never could hear of her. It is the same,
And Hammon’s bride no other but my Jane.
Enter Firk
Firk ’Snails, Ralph, thou hast lost thy part of three pots a countryman
[neighbour] of mine gave me to breakfast.
ralph I care not. I have found a better thing.
1
Source materials Page
Firk A thing? Away! Is it a man’s thing, or a woman’s thing?
Ralph Firk, dost thou know this shoe?
Firk No, by my troth. Neither doth that know me: I have no acquaintance
with it, ‘tis a mere [complete] stranger to me.
Ralph Why then, I do: this shoe, I durst be sworn,
Once covered the instep of my Jane.
This is her size, her breadth. Thus trod my love.
These true-love knots I pricked [i.e., a decorative pattern]. I hold my life,
By this old shoe I shall find out my wife.
[Scene 17]
Eyre Go, vanish, vanish; avaunt, I say. By the Lord of Ludgate, it’s a mad
life to be a Lord Mayor. It’s a stirring life, a fine life, a velvet life, a
careful life. Well, Simon Eyre, yet set a good face on it, in the honour of
Saint Hugh. Soft, the King this day comes to dine with me, to see my
new buildings. His Majesty is welcome; he shall have good cheer,
delicate cheer, princely cheer. This day my fellow prentices of London
come to dine with me too. They shall have fine cheer, gentlemanlike
cheer. I promised the mad Cappadocians, when we all served at the
conduit together, that if ever I came to be Mayor of London, I would feast
them all; and I’ll do’t, I’ll do’t, by the life of Pharaoh, by this beard, Sim
Eyre will be no flincher. Besides, I have procured that upon every Shrove
Tuesday, at the sound of the pancake bell, my fine dapper Assyrian lads
shall clap up their shop windows and away. This is the day, and this day
they shall do’t, they shall do’t! Boys, that day are you free; let masters
care, And prentices shall pray for Simon Eyre.
Exit
44-5 Cappadocians Another of Eyre’s mouth-fillers: cf Scene 4.123 and note.
45 served . . . together i.e., as apprentices, fetching water for their masters’ houses
49 pancake bell the bell for Church on Shrove Tuesday, but with obvious festive
associations. The day was a traditional apprentices’ holiday.
4 king of spades punning on delve, and anticipating Hammon’s rich appearance
(like the figure on playing-cards) in his wedding finery
5 delve in thy close dig in your patch (bawdy) sufferance permission 10 and for
because 18 Hammon nor hangman The word-play alludes to Hamon in the
Book of Esther who was hanged on the gallows he built for his enemy.
30 clubs for prentices a rallying-cry. Apprentices were notoriously disorderly
during the Shrove celebrations.
33 bird-spits rapiers (mocking the show of resistance by Hammon and his party)
38 velvet . . . careful Both terms convey Eyre’s awareness of the cares and duties of
rank; ‘velvet-jacket’ was slang for a mayor.
40 my new buildings See Scene 21.129-32.
50 windows wooden shutters which let down to form shop counters. See note to
Scene 4.8-9.
2 bloods brotherhood
を得たり。二寸余にして、赬（あか）き鰭（ひれ）
、金の目なり。
ついにひそかに盆水に養う。日々長じ、数器を易（か）うるも、
大きくして受くるあたわず。すなわち、うしろの池の中に投ず。
女（むすめ）は、得るところの余食あれば、すなわち沈めてこれ
を食らわす。女の池にあれば、魚は必ず首を露わし、岸に枕す。
他人至らば、また出でず。その母、これを知って、つねにこれを
伺うも、魚いまだかつて見（あら）われず。よって女を詐（いつ
わ）っていわく、なんじ労するなからんや、われ、なんじがため
にその襦（うわぎ）を新たにせん、と。すなわち、その弊（やぶ）
[Scene 21]
King Why, tell me, Oatley, shines not Lacy’s name
れし衣を易（か）え、のち他の泉に汲ましむ。里を計すれば数百
As bright in the world’s eye as the gay beams
なり。母は徐（おもむ）ろにその女の衣をつけ、利（と）き刃（や
Of any citizen?
Lincoln Yea, but, my gracious lord,
いば）を袖にし、行きて池に向かい魚を呼ぶ。魚すなわち首を出
I do mislike the match far more than he.
だす。よってこれを斫（き）り殺す。魚すでに長さ丈余、その肉
Her blood is too too base.
King
Lincoln, no more.
を膳（くら）うに味は常の魚に倍す。その骨を鬱棲（つみごえ）
Dost thou not know that love respects no blood
の下に蔵（かく）す。日を逾（こ）えて女至り、池に向かえども
Cares not for difference of birth or state?
また魚を見ず。すなわち野に哭す。たちまち人あり、被髪（ひはつ）、
The maid is young, well born, fair, virtuous,
A worthy bride for any gentleman.
粗衣にして、天より降って女を慰めていわく、なんじ哭すなかれ、
Besides, your nephew for her sake did stoop
なんじの母はなんじの魚を殺せり、骨は糞の下にあり。なんじは
To bare necessity and, as I hear,
Forgetting honours and all courtly pleasures,
帰りて、魚の骨を取って室に蔵すべし、須（もと）むるところ、ただ
To gain her love became a shoemaker.
これに祈れば、まさになんじに従うべし、と。女、その言を用い、金
As for the honour which he lost in France,
璣（きんき）衣食、欲するに随って具（そな）わる。洞の節（さいじ
Thus I redeem it: Lacy, kneel thee down.
[Lacy kneels, and King taps him on the shoulder with a swordl
つ）に及び、母は往きて、女をして庭の果を守らしむ。女は母の行く
Arise, Sir Roland Lacy. Tell me now,
こと遠きを伺い、また往く。翠紡の上衣をつけ、金の履（くつ）を躡
Tell me in earnest, Oatley, canst thou chide,
Seeing thy Rose a lady and a bride?
（は）く。母の生みしところの女これを認め、母に謂（い）いていわ
Oatley I am content with what your Grace hath done.
く、これはなはだ姉に似たり、と。母もまたこれを疑う。女覚りてに
Lincoln And I, my liege, since there’s no remedy.
King Come on then, all shake hands; I’ll have you friends.
わかに反（かえ）り、ついに一隻（ひとつ）の履を遺（のこ）し、洞
Where there is much love, all discord ends.
人の得るところとなる。母は帰って、ただ女の庭樹を抱いて眠れるを
What says my mad Lord Mayor to all this love?
Eyre O, my liege, this honour you have done to my fine journeyman here, 見て、またこれを慮（おもんぱか）らず。その洞は海島に隣りす。島
Roland Lacy, and all these favours which you have shown to me this day 中に国あり、陀汗（だかん）と名づく。兵強くして、数十の島、水界
in my poor house, will make Simon Eyre live longer by one dozen of
数千里に王たり。洞人ついにその履を陀汗国に貨（う）る。国主これ
warm summers more than he should.
King Nay, my mad Lord Mayor — that shall be thy name—
を得て、その左右に命じてこれを履かしむ。足の小なる者履けば一寸
If any grace of mine can length thy life,
を減ず。すなわち一国の婦人をしてこれを履かしむるに、ついに一と
One honour more I’ll do thee. That new building
して称（あ）う者なし。その軽きこと毛のごとく、石を履（ふ）むに
Which at thy cost in Cornhill is erected
Shall take a name from us. We’ll have it called
声なし。陀汗王、その洞人の非道をもってこれを得しかと意（おも）い、
The Leaden Hall*, because in digging it
ついに禁錮して、これを拷掠（こうりゃく）すれども、ついによって
You found the lead that covereth the same.
*The Leaden Hall a familiar landmark to Dekker’s audience. The naming of 来たるところを知らず。すなわち、
この履をもって、これを路傍に棄て、
[Scene 18]
Enter Hodge, Firk, Ralph, and five or six shoemakers, all with cudgels, or
such weapons
Hodge Come, Ralph. Stand to it, Firk. My masters, as we are the brave
bloods of the shoemakers, heirs apparent to Saint Hugh, and perpetual
benefactors to all good fellows, thou shalt have no wrong. Were Hammon
a king of spades, he should not delve in thy close without thy sufferance.
But tell me, Ralph, art thou sure ‘tis thy wife?
Ralph Am I sure this is Firk? This morning, when I stroked on her shoes, I
looked upon her, and she upon me, and sighed, asked me if ever I knew
one Ralph. Yes, said I. For his sake, said she - tears standing in her eyes and for thou art somewhat like him, spend this piece of gold. I took it; my
lame leg and my travel beyond sea made me unknown. All is one for that.
I know she’s mine.
Firk Did she give thee this gold? O glorious glittering gold! She’s thine
own, ‘tis thy wife, and she loves thee; for, I’ll stand to’t, there’s no
woman will give gold to any man but she thinks better of him than she
thinks of them she gives silver to. And for Hammon, neither Hammon
nor hangman shall wrong thee in London. Is not our old master Eyre
Eyre’s building confirms his solid legacy to the present.
Lord Mayor? Speak, my hearts!
All Yes, and Hammon shall know it to his cost.
西暦九世紀の支那書に載せたるシンダレラ物語
Enter Hammon, his man, Jane, and others
南方熊楠
Hodge Peace, my bullies; yonder they come.
Ralph Stand to’t, my hearts. Firk, let me speak first.
Hodge No, Ralph, let me. Hammon, whither away so early?
さて予二十三年前在米の間、『酉陽雑俎』続集巻一に、支那のシン
Hammon Unmannerly rude slave, what’s that to thee?
Firk To him, sir? Yes, sir, and to me, and others. Good morrow, Jane, how ダレラ物語あるを見出し、備忘録に記しおき、その後土宣竜師などに
dost thou? Good Lord, how the world is changed with you, God be
報ぜしことあり。英国の俚俗学会、かつて広く諸国に存するシンダレ
thanked.
ラ物語の諸種を集め、
出版せし一冊あり。予在外中、好機会多かりしも、
Hammon Villains, hands off! How dare you touch my love?
Shoemakers Villains? Down with them! Cry clubs for prentices!
多事なりしため、ついにこれを閲せざりしぞ遺憾なる。近日ロンドン
Hodge Hold, my hearts. Touch her, Hammon? Yea, and more than that,
we’ll carry her away with us. My masters and gentlemen, never draw の学友を頼み、右の書に支那のシンダレラ譚ありやと調べもらいたる
your bird-spits. Shoemakers are steel to the back, men every inch of に、全くなしとの返事なり。しかし、その人かかることに趣味を持た
them, all spirit.
ざれば、実際は知れず。とにかく、自分せっかく久しく取っておきの
All of Hammon’s Side Well, and what of all this?
Hodge I’ll show you. Jane, dost thou know this man? ‘Tis Ralph, I can tell 物を、そのまま埋め去ることの惜しまるれば、ここにその文を載す。
thee. Nay, ‘tis he, in faith. Though he be lamed by the wars, yet look not たとい、すでに学者間に知悉されしことなりとも、この物語を、欧州
strange, but run to him, fold him about the neck and kiss him.
J ane Lives then my husband? O God, let me go! Let me embrace my 特有の物と思いおる人々の、耳目を広むるの少益ありなんか。いわく、
Ralph.
「南人相伝う。秦・漢の前に洞主の呉氏あり。土人、呼んで呉洞となす。
Hammon What means my Jane?
両妻を娶る。一妻卒し、女（むすめ）あり、葉限と名づく。少（おさ）
Jane Nay, what meant you to tell me he was slain?
Hammon Pardon me, dear love, for being misled.
なきより恵（さと）く、よく金を鉤（と）る。父これを愛す。末歳に
父卒し、後母（ままはは）の苦しむるとことなる。常に険（けわ）し
きに樵（きこり）し、深きに汲ましむ。時に、かつて一の鱗（さかな）
2
すなわち人家を遍歴してこれを捕らえんとす。ここに、女の履く者あ
り、これを捕らえてもって告ぐ。陀汗王これを怪しみ、すなわちその
室を捜して葉限を得たり。これを履かしむるに信（まこと）なり。葉
[George Peele?], (1599)
The Forest of Strange Marvels
Iulia.
Sir Prince, vpon a vow, who spowseth me, must needsly take in
hand
The flying Serpent for to sley, which in the Forrest is,
That of strange maruels beareth name, which Serpent doth not mis
By dayly vse from euery coast, that is adyacent there,
To fetch a Virgin maide or wife, or else some Lady faire,
To feed his hungrie panch withall, if case he can them take,
His nature loe it onely is, of women spoyle to make:
Which thing no doubt, did daunt me much, and made me vow
indeed,
Who should espouse me for his wife, should bring to me his head:
Whereto my father willingly, did giue his like consent,
Lo Sir Clamydes, now you know what is my whole intent:
And if you will as I haue said, for me this trauell take,
That I am yours, with heart and mind, your full account do make
限、よって翠紡の衣をつけ、履を躡（は）いて進むに、その色（すがた）
天人のごとし。始めて事を王に具（もう）し、魚骨と葉限とを載せて、 梗概
ともに国に還る。その母および女は、すなわち飛石のために撃たれて
Suavia の王子 Clamydes はデンマークの王女 Juliana と相
死す。洞人これを哀しみ、石坑に埋め、命（なづ）けて懊女塚という。 愛の仲となる。彼女は Forest of Strange Marvels に棲む
洞人もって禖祀（ばいし）をなし、女（むすめ）を求むれば必ず応ず。 flying Serpent を退治することを結婚の条件としていた。勇
躍して龍退治に向かうことを決意したクラミデスにジュリ
骨に祈り、宝玉限りなし。年を逾（こ）えてまた応ぜず。王すなわち アナは白い盾を与え、
「白い盾の騎士」と名乗らせる。
魚骨を海岸に葬り、珠百斛（こく）を用いてこれに蔵し、金を際（わく） デンマークの王子クリオモンは武者修行の旅に出ていた。
となす。徴卒の叛する時に至り、まさに発（あば）いてもって軍を贍（た 彼は武勲の印としてアレクサンダー大王から金の盾を与え
す）けんとするに、一夕、海潮の淪（しず）むるところとなる。
られ「黄金の盾の騎士」を名乗っていたが、自分の本名に
成式 [ 著者、段成式 ] の旧家人、李士元の説くところなり。士元は ついては、自分をうち負かした者以外には明かさないこと
もと邕州（ようしゅう）の洞中の人、多く南中の怪事を記（しる）し にしていた。クラミデスは、龍退治に出かける前に父王か
得たり。
ら騎士の称号を受けることになるが、その場にいたクリモ
（『人類学雑誌』二八巻一〇号、大正元年）
ンが、横から割って入り、王が振り下ろした剣を自分が受
けて（騎士の任命の儀式）、逃走してしまう。怒ったクラミ
デスは、クリオモンを追いかけ、決闘を挑む。しかし、ク
陀汗王は国に至り、葉限をもって上婦となす。一年、王貪り求めて魚
Clyomon and Clamydes
Source materials Page
授業で使用したスライドは次の場所に PDF ファイルがあり、ダウンロードできます
（現在準備中、間もなく使用可能になります）。
http://www.lab.twcu.ac.jp/english/el-history2016/materials2016.html
リオモンは、勝者の名誉がより広く世界に知られるように も結婚することとなる。
するため、十五日後にマケドニアのアレクサンダー大王の
御前で正式の決闘をして雌雄を決することを申し出て、ク Francis Beaumont,
ラミデスもそれに応じる。
The Knight of the Burning Pestle
余裕の期間の間にクラミデスは龍退治をしようと、「驚異 『輝けるすりこぎ団の騎士』
の森」に入る。森には Bryan Sans Foy（信仰なきブリアン） Acted in 1607-8? Published in 1613
という臆病者の騎士が住んでおり、彼は魔法によって、ク
ラミデスを眠らせ、彼が退治した龍の首と白い盾を奪って Induction
し ま う。 十 日 後 に ク ラ ミ デ ス の 従 者 Subtle Shift GENTLEMEN seated upon the stage. The CITIZEN, his WIFE, and
RAFE below among the audience.
(Knowledge) が主人を救い出すが、ブライアンはすでにク
Enter PROLOGUE
ラミデスを装ってデンマークへ向かった後だった。
一方、マケドニアに向かったクリオモンは、航海の途中 [PROLOGUE]
で嵐に出会い、瀕死の状態で海岸に横たわっているところ From all that’s near the court, from all that’s great
を King of the Strange Marshes の娘 Neronis に救われる。 Within the compass of the city-walls,
We now have brought our scene—
二人は相愛の仲となるが、クラミデスに約束を果たせなか Enter CITIZEN [from audience below]
った言い訳をするため、クリオモンは再び旅に出る。彼が CITIZEN Hold your peace, goodman boy.
PROLOGUEWhat do you mean, sir?
留守の間に、ネロニスに横恋慕していたノルウエーの王 CITIZEN That you have no good meaning. This seven years there
Thrasellus が、商人に変装してネロニスを誘拐し、自国に hath been plays at this house, I have observed it, you have still girds at
連れ去ってしまう。ネロニスは彼を欺いて小姓の姿に身を citizens; and now you call your play The London Merchant. Down with
your title, boy, down with your title!
変えて逃げだし、羊飼いの Corin に牧童として雇われる。 PROLOGUEAre you a member of the noble city?
ネロニスの捜索に来たスラセラスとクリオモンが出会い、 CITIZEN I am.
PROLOGUEAnd a freeman?
決闘となり、クリオモンが勝つが、自分も重傷を負ったと
7 still always8 girds sneers 10 member inhabitant
ころをコリンに助けられる。
6-7 seven . . . house. The Children of the Queen’s Revels played at Black­friars
ネロニスを失った父王は、悲しみのあまり死んでしまう。 from 1600 to 1608.
残された王妃は妊娠していたが、王弟の Mustantius が王位 8-9 The London Merchant. Possibly a lost play by Ford, but more probably the
name of the play dealing with Venturewell and his family.
をねらい、内乱の危機となる。そこでアレクサンダーの調 9 title. A placard bearing the name of the play hung on the stage.
停により、双方が一人の騎士をチャンピオンとして、一騎 12 freeman. Enjoying the privileges of the City; admission to the rank came after
serving a term of apprenticeship.
打ちにより決着をつけることとなった。クラミデスがムス
タンシャス側につくことになるが、王妃側のチャンピオン CITIZEN Yea, and a grocer.
PROLOGUESo, grocer, then by your sweet favour, we intend no abuse
が現れない。アレクサンダーの調停により、王子が成人す to the city.
るまでムスタンシャスが統治し、王子の即位後は全権を譲 CITIZEN No, sir? Yes, sir! If you were not resolved to play the jacks,
渡し、その後は年金を受け取ることで和解が成立する。そ what need you study for new subjects, purposely to abuse your betters?
Why could not you be contented, as well as others, with The Legend of
こに、王妃側のチャンピオンとしてクリオモンが現れる。 Whittington, or The Life and Death of Sir Thomas Gresham, with the
彼とクラミデスは約束の決闘をしようとするが、アレクサ Building of the Royal Exchange, or The Story of Queen Elenor, with the
Rearing of London Bridge upon Wool-sacks?
ンダーがやめさせる。クリオモンはアレクサンダーから身 PROLOGUEYou seem to be an understanding man. What would you
分を問われて、やむを得ず自分の正体を明かすことになる。 have us do, sir?
クラミデスは、好敵手が実は自分が愛するジュリアナの兄 CITIZEN Why, present something notably in honour of the commons
of the city.
であることを知って、永遠の友情を誓う。小姓に変装して PROLOGUEWhy, what do you say to The Life and Death of Fat Drake,
クリオモンに付き従っていたネロニスは、クリオモンが盾 or the Repairing of Fleet-privies ?
CITIZEN
I do not like that; but I will have a citizen, and he shall be
を覆い、変装していたため、彼の正体に気づかないでいた。 of my own trade.
クリオモンの命令でデンマークに先触れとして行くことに
favour pun on favour as ‘face’
なった彼女は、正体を隠したまま出かける。クリオモンと 14
16 play the jacks play the knave, do a mean trick (Tilley,J8)
クラミデスは相携えてデンマークの宮廷に到着する。しか 23 understanding pun since the spectators were below the stage, cf. Bartholomew
Fair, Induction, ‘the understanding gentlemen o’ the ground’
25
し、先にクラミデスを装ってブリアンが来ていたため、ク
commons the body of freemen
ラミデスは偽物と疑われる。彼と対決することになったブ 13 grocer. A member of one of the most important of the twelve great livery
companies of London.
リアンは、臆病者であるため、自分の正体を暴露し、投獄 19ff. Plays from public theatres that glorified the City: Dick Whittington was the
legendary Lord Mayor who rose from low estate to great fortune, a play about
される。クラミデスとジュリアナは晴れて結ばれることと
him v.as entered on the Stationers’ Register in 1605; Sir Thomas Gresham
なり、男装を解いて姫として現れたネロニスとクリオモン
appears in Part II of Heywood’s If You Know Not Me printed in 1606, he had
built the Royal Exchange, a cosmopolitan place of resort that was destroyed in
the fire of 1666; Queen Elenor is probably from Peele’s Edward I printed in
1593, ‘The Building of London Bridge upon Wool Sacks’ was the name of a
dance that got its name from a levy upon wool raised to pay for the bridge.
27 Fat Drake. Probably a sarcastic invention of the Prologue.
28 Fleet-privies. Fleet Ditch served as a sewer.
PROLOGUEOh, you should have told us your mind a month since. Our
play is ready to begin now.
CITIZEN
’Tis all one for that; I will have a grocer, and he shall do
admirable things.
PROLOGUEWhat will you have him do?
CITIZEN
Marry, I will have him—
WIFE below
WIFE
Husband, husband.
RAFE below
RAFE
Peace, mistress.
WIFE
Hold thy peace, Rafe; I know what I do, I warrant’ee.—
Husband, husband.
What say’st thou, cony?
CITIZEN
WIFE
Let him kill a lion with a pestle, husband; let him kill a lion
with a pestle.
CITIZEN
So he shall.—I’ll have him kill a lion with a pestle.
WIFE
Husband, shall I come up, husband?
34 admirable wonderful
41 cony rabbit, term of endearment
31-2 Our play is ready to begin now. The players were in fact accustomed to
demands for a change in the programme; see Bradbrook, pp. 24-5.
41 cony cf. Chapman, The Blind Beggar of Alexandria (1595), V. 37-9:
New-fashion terms I like not, for a man
To call his wife cony, forsooth and lamb:
And pork and mutton, he as well may say.
42 kill a lion with a pestle. Battles with wild beasts were common in the romances
and one of the prentices in Heywood’s The Four Prentices of London claims to
have killed a lion single-handed.
45 shall I come up. For a woman to sit on the stage was both unusual and
immodest.
CITIZEN
Ay, cony.—Rafe, help your mistress this way.—Pray,
gentlemen, make her a little room.—I pray you, sir, lend me your hand to
help up my wife; I thank you, sir.—So.
[WIFE comes up onto stage]
WIFE By your leave, gentlemen all, I’m something trouble-some;
I’m a stranger here; I was ne’er at one of these plays, as they say, before;
but I should have seen Jane Shore once, and my husband hath promised
me any time this twelvemonth to carry me to The Bold Beauchamps; but
in truth he did not. I pray you bear with me.
CITIZEN
Boy, let my wife and I have a couple of stools, and then
begin, and let the grocer do rare things.
PROLOGUEBut sir, we have never a boy to play him; everyone hath a
part already.
WIFE
Husband, husband, for God’s sake let Rafe play him;
beshrew me if I do not think he will go beyond them all.
CITIZEN
Well remembered, wife.—Come up, Rafe.—I’ll tell you,
gentlemen, let them but lend him a suit of reparel and necessaries, and, by
gad, if any of them all blow wind in the tail on him, I’ll be hanged.
[RAFE comes up onto stage]
WIFE
I pray you, youth, let him have a suit of reparel.—I’ll be
sworn, gentlemen, my husband tells you true: he will act you sometimes
at our house, that all the neighbours cry out on him. He will fetch you up
a couraging part so in the　garret, that we are all as feared, I warrant you,
that we quake again. We’ll fear our children with him: if they be never so
unruly, do but cry, ‘Rafe comes, Rafe comes’, to them, and they’ll be as
quiet as lambs.—Hold up thy head, Rafe; show the gentlemen what thou
canst do; speak a huffing part; I warrant you the gentlemen will accept of
it.
60 beshrew me the devil take me
62 reparel archaic synonym for apparel
63 - blow wind in the tail on come near (from horseracing)
67-8 cry out on complain of
68 couraging spirited
51 Jane Shore. Also a citizen’s wife and a mistress ot Edward IV, she appears in
Heywood’s Edward IV printed in 1600; there are references in Henslowe’s
Diary to plays about her composed by Chettle and Day.
53 The Bold Beauchamps. A lost play ascribed to Heywood.
3
CITIZEN
Do, Rafe, do.
RAFE
By heaven, methinks it were an easy leap
To pluck bright honour from the pale-faced moon,
Or dive into the bottom of the sea,
Where never fathom line touched any ground,
And pluck up drowned honour from the lake of hell.
CITIZEN
How say you, gentlemen, is it not as I told you?
WIFE
Nay, gentlemen, he hath played before, my husband says,
Mucedorus before the wardens of our company.
CITIZEN
Ay, and he should have played Jeronimo with a shoemaker
for a wager.
PROLOGUEHe shall have a suit of apparel if he will go in.
CITIZEN
In, Rafe; in, Rafe; and set out the grocery in their kind, if
thou lov’st me.
[Exit RAFE]
WIFE
I warrant our Rafe will look finely when he’s dressed.
73 huffing puffed up, bombastic
87 in their kind fittingly
76ff. By heaven . . . lake of hell. Hotspur’s speech in I Henry IV, 1. iii, 201 ff., a
fine bombastic or huffing part; Rafe substitutes a commonplace ‘from the lake
of hell’ for Shakespeare’s ‘by the locks’.
83 Mucedorus. A very popular and absurdly extravagant play first printed
anonymously in 1598 in \vhich scenes of romantic adventure are laced with
buffoonery.
83 before the wardens. Performances by livery companies in the Guildhalls and at
Court (cf. A Midsummer Night’s Dream) continued throughout the first half of
the seventeenth century.
84 Jeronimo. The hero of Kyd’s The Spanish Tragedy.
86 go in. To the tiring-house behind the stage.
87 in their kind. Each company had a distinctive livery.
PROLOGUEBut what will you have it called?
The Grocers’ Honour.
CITIZEN
PROLOGUE,Methinks The Knight of the Burning Pestle were better.
WIFEI’ll be sworn, husband, that’s as good a name as can be.
CITIZENLet it be so. Begin, begin; my wife and I will sit down.
ACT III
**********************
Enter MISTRESS MERRYTHOUGHT, RAFE, MICHAEL, [TIM as]
Squire [GEORGE as] Dwarf, HOST, and a TAPSTER
TAPSTER Master, the reckoning is not paid.
RAFE
Right courteous knight, who, for the order’s sake
Which thou hast ta’en, hang’st out the holy bell,
As I this flaming pestle bear about,
We render thanks to your puissant self,
Your beauteous lady, and your gentle squires,
For thus refreshing of our wearied limbs,
Stiffened with hard achievements in wild desert.
TAPSTER Sir, there is twelve shillings to pay.
137 tonight last night
148 twelve shillings. The bill is not exorbitant.
***
WIFE
Look, George, did not I tell thee as much; the Knight of the
Bell is in earnest. Rafe shall not be beholding to him; give him his money,
George, and let him go snick up.
Cap Rafe? No.—Hold your hand, Sir Knight of the Bell;
CITIZEN
there’s your money. Have you anything to say to Rafe now? Cap Rafe!
I would you should know it, Rafe has friends that will not
WIFE
suffer him to be capped for ten times so much, and ten times to the end of
that.—Now take thy course, Rafe.
***************
RAFE
Lady, farewell; I needs must take my leave.
LADY
Hard-hearted Rafe, that ladies cost deceive.
Hark thee, Rafe, there’s money for thee; give something in
CITIZEN
the King of Cracovia’s house; be not beholding to him.105
Lady, before I go, I must remember
RAFE Your father’s officers, who, truth to tell,
Have been about me very diligent.
Hold up thy snowy hand, thou princely maid:
There’s twelve pence for your father’s chamberlain; And another shilling
for his cook,
For, by my troth, the goose was roasted well;
And twelve pence for your father’s horse-keeper,
Source materials Page
For ‘pointing my horse back; and for his butter,
There is another shilling; to the maid
That washed my boot-hose, there’s an English groat;
And twopence to the boy that wiped my boots;
And last, fair lady, there is for yourself
Threepence, to buy you pins at Bumbo Fair.
LADY
Full many thanks; and I will keep them safe
Till all the heads be off, for thy sake, Rafe.
RAFE
Advance, my squire and dwarf; I cannot stay.
LADY
Thou kill’st my heart in parting thus away.
Exeunt
119 pins. Elaborate pins were fashionable.
119 Bumbo. The word probably comes from the name of a drink made from rum,
water, and nutmeg doubtless drunk at fairs.
Enter RAFE, with a forked arrow through his head
RAFE
****
Then coming home, and sitting in my shop
With apron blue, Death came unto my stall
To cheapen aqua vitue, but ere I
Could take the bottle down, and fill a taste,
Death.caught a pound of pepper in his hand,
And sprinkled all my face and body o’er,
And in an instant vanished away.
CITIZEN
’Tis a pretty fiction i’faith.
RAFE
Then took I up my bow and shaft in hand,
And walked into Moorfields to cool myself;
But there grim cruel Death met me again,
And shot this forked arrow through my head,
And now I faint. Therefore be warned by me,
My fellows every one, of forked heads.
Farewell, all you good boys in merry London;
Ne’er shall we more upon Shrove Tuesday meet
And pluck down houses of iniquity.
My pain increaseth.—I shall never more
Hold open, whilst another pumps both legs,
304 berayed him befouled himself 309 cheapen bargain for
320 forked heads of cuckolds
316 Moorfields. North of the city wall, between Bishopsgate and Cripplegate; in
1606 they were laid out in walks and became a popular summer resort for the
citizens.
322 Shrove Tuesday. The prentices traditionally revelled and rioted on Shrove
Tuesday before Lent;
Nor daub a satin gown with rotten eggs;
Set up a stake, oh, never more I shall.
I die; fly, fly, my soul, to Grocers’ Hall.
Oh, oh, oh, etc.
WIFE
Well said, Rafe. Do your obeisance to the gentlemen and go your ways.
Well said, Rafe.
Exit RAFE
333 depart take leave of one another
327 Set up a stake. ‘Rafe probably refers to the stake to which cocks were
tied as targets to be thrown at in the contests on Shrove Tuesday’
Thomas Heywood, The Fair Maid of the West
First acted around 1610
(1)
Enter Clem.
Besse. What newes with you ?
Clem. I am now going to carry the captaines a reckning.
Besse. And what’s the summe ?
Clem. Let me see, eight shillings and six pence.
Besse. . . . How comes it to so much ?
Clem. Imprimis, six quarts of wine at seven pence the quart, seven sixpences.
...
Besse. Well, wine, 3 s, 6 d.
...
Clem. Then for twelve penyworth of anchoves, 18 d.
Besse. How can that be ?
Clem. Marry very well mistress: 12 d. anchoves, and 6 d. oyle and vineger. Nay they shall have a sawcy reckoning.
Besse. And what for the other halfe crowne ?
Clem. Bread, beere, salt, napkins, trenchers, one thing with another, so the
summa totalis is 8 s, 6 d.
Besse. Well, take the reckoning from the bar.
Clem. . . . Yes, I’le about it. [Exit.]
Besse. Were I not with so many sutors pesterd,
And might I injoy my Spencer, what a sweet
Contented life were this ! for money flowes
And my gaine’s great. But to my Roughman next :
I have a tricke to try what spirit's in him,
It shall be my next businesse : in this passion
For my deare Spencer, I propose me this,
Mongst many sorrowes some mirth’s not amisse.
Exit
(2)
Enter Besse Bridges like a Page with a sword, and Clem.
Besse. Me thinkes I have a manly spirit in me In this mans habit.
….
Besse. Me thinkes I could be valiant on the sudden : And meet a man i’th
field. I could doe all that I have heard discourst
Of Mary Ambree or Westminsters Long-Meg.
Enter Roughman . . .
Roug. How many times brave words beare out a man ?
For if he can but make a noise, hee’s fear’d.
To talke of fraies, although he ne’er had heart
To face a man in field, that’s a brave fellow.
I have beene valiant I must needs confesse,
In street and Taverne, where there have beene men
Ready to part the fray: but for the fields
They are too cold to fight in.
Besse. You are a villaine, a Coward, and you lie.
R. You wrong me, I protest. Sweet courteous Gentleman
I never did you wrong.
Besse. Wilt tell me that ?
Draw forth thy coward sword, and suddenly,
Or as I am a man Ile runne thee through,
And leave thee dead i’th field.
Roug. Hold as you are a Gentleman. I have tane an oath I will not fight to
day.
Besse. Th’ast tooke a blow already and the lie,
Will not both these inrage thee ?
...
Rough. I, you are deceiv'd. I ne’er drew sword in anger I protest,
Vnless it were upon some poore weake fellow That ne’er wore steele
about him.
Besse. Throw your Sword.
Roug. Here sweet young sir, but as you are a gentleman,
Doe not impaire mine honor.
Besse. Tye that shooe.
Rough. I shall sir.
Besse. Vntrusse that point.
Rough. Any thing this day to save mine oath.
Besse. Enough: yet not enough, lie downe
Till I stride ore thee.
Rough. Sweet sir any thing.
Besse. Rise, thou hast leave. Now Roughman thou art blest
This day thy life is sav’d, looke to the rest. Take backe thy sword.
Rough. Oh you are generous: honour me so much
As let me know to whom owe my life.
Besse. I am Besse Bridges brother.
Rough. Still me thought
That you were something like her.
(3)
Enter Goodlaek, Sailors, and Clem.
Goodl. A gallant ship, and wondrous proudly trim’d,
Well calkt, well tackled, every way prepar’d.
Besse. Here then our mourning for a season end.
....
Besse. Resolve me all, I am bound upon a voyage,
Will you in this adventure take such part,
As I my selfe sall doe ?
Rough. With my fayre Besse, to the worlds end.
Besse. Then Captaine and Lieftenant both, joine hands,
Such are your places now.
Goodl. Wee two are friends.
Besse. I next must sweare you two, with all your ginge
True to some articles you must observe,
Reserving to my selfe a prime command,
Whilst I inioyne nothing unreasonable.
Goodl. All this is granted.
Besse. Then first, you said your ship was trim and gay,
Ile have her pitcht all ore, no spot of white,
No colour to be seene, no Saile but blacke,
No Flag but sable.
Goodl. Twill be ominous. And bode disaster fortune.
Besse. IIe ha’ it so.
Goodl. Why then she shall be pitcht blacke as the devil
Besse. She shall be call’d Th Negro, when you know
My conceit, Captaine, you will thanke me for’t.
(4)
Enter with victory Besse, Roughman,Forset, Clem, &c.
The Spaniards Prisoners.
Besse. How is it with the Captaine ?
Rough. Nothing dangerous,
But being shot ith’ thigh hee keepes his Cabin,
And cannot rise to greet your victory.
Besse. He stood it bravely out whilst he could stand.
Clem. But for these Spaniards, now you Don Diegoes,
You that made Paules to stinke.
Roughm. Before we further censure them, let’s know
What English prisoners they have here aboord.
Span. You may command them all. We that were now
Lords ouer them, Fortune hath made your slaves,
Release our prisoners .
Besse. Had my captaine dide
Not one proud Spaniard had escap’d with life,
Your ship is forfeit to us, and your goods.
So live. Give him his long Boate: him and his
Set safe ashore ; and pray for English Besse.
Sp. I know not whom you meane, but bee’t your Queene
Famous Elizabeth, I shall report
She and her subjects both are mercifull. Exeunt.
Enter Roughman, with the Merchant and Spencer.
Besse. Whence are you sir ? and whither were you bound?
Merch. I am a London bound for Barbary,
But by this Spanish Man-of-warre surpris’d,
Pillag’d and captiv’d.
Besse. We much pitty you,
What losse you have sustain’d, this Spanish prey shall make good to
you to the utmost farthing.
Merc. Our lives, and all our fortunes whatsoever
Are wholly at your service.
Besse. These Gentlemen have been dejected long,
Let me peruse them all, and give them money
4
To drinke our health, and pray forget not Sirs,
To pray for -- Hold, support me, or I faint.
Roughm. What sudden unexpected extasie
Disturbs your conquest.
Besse. Interrupt me not,
But give me way for Heavens sake.
Spencer. I have seene a face ere now like that yong Gentleman,
But not remember where.
Besse. But he was slaine,
Lay buried in yon Church, and thence remov’d.
Denyde all Christian rights, and like an Infidell
Confinde unto the fields, and thence digd up,
His body after death had martyrdome :
All these assure me tis his shadow dogs me,
For some most just revenge thus farre to Sea.
Is it because the Spaniards scap’d with life,
That were to thee so cruell after death
Thou hauntst me thus? Sweet ghost thy rage forbeare,
I will revenge thee on the next we seaze.
I am amaz’d, this sight Ile not endure.
Sleepe, sleepe, faire ghost, for thy revenge is sure.
Roug. Forset, convey the owner to his cabin.
Spencer. I pray sir what young Gentleman is that
Rough. Hee’s both the owner of the ship and goods,
That for some reasons hath his name conceal’d.
Spencer. Me thinke he lookes like Besse, for in his eyes
Lives the first love that did my heart surprise.
Roughm. Come Gentlemen, first make your losses good
Out of this Spanish prize. Let’s then divide
Both severall wayes, and heavens be our guide.
Merc. We towards Mamorrah.
Roughm. We where the Fates doe please,
Till we have tract a wildernesse of Seas. Florish.
(4)
Enter Chorus.
Our Stage so lamely can expresse a Sea,
That we are forst by Chorus to discourse
What should have beene in action. Now imagine
Her passion ore, and Goodlacke well recoverd,
Who had he not been wounded and seene Spencer,
Had sure descride him. Much prise they have tane,
The French and Dutch she spares, onely makes spoile
Of the rich Spaniard, and the barbarous Turke.
And now her fame growes great in all these seas.
Suppose her rich, and forst for want of water
To put into Mamorrah in Barbary,
Where wearied with the habit of a man,
She was discoverd by the Moores aboord,
Which told it to the amorous King of Fesse,
That ne’er before had English Lady seene.
He sends for her on shore, how he receives her,
How she and Spencer meet, must next succeed.
Sit patient then, when these are fully told,
Some may hap say, I, there’s a Girle worth gold.
(5)
Enter Mullisheg, Alcade, Joffer, and Attendants, etc.
Mullisheg. But was she of such presence?
Alc. To describe her Were to make eloquence dumb.
Mull. Well habited ?
Alc. I ne’er beheld a beauty more compleat.
Mull. Thou haft inflam’d our spirits. In England borne?
Alc. The Captaine so reported.
Mull. How her ship ?
Alc. I never saw a braver Vessell saile,
And she is call’d The Negro.
Exeunt.
Source materials Page
Mull. Ominous
Perhaps to our good fate. She is a Negro
Hath sail’d thus farre to bosome with a Moore.
But for the motion made to come ashore,
How did she relish that ?
Alc. I promist to the Captaine large reward
To winne him to it, and this day he’ hath promist
To bring me her free answer.
Mull. When he comes
Give him the entertainment of a Prince.
Enter a Moore.
The newes with thee ?
Moore. The Captaine of The Negro craves admittance
Vnto your Highnesse presence.
Mull. A Guard attend him, and our noblest Bashawes
Conduct him safe where we will parly him. Flourish.
With that high favour ?
Besse. Tis no immodest thing .
You aske, nor shame, for Besse to kisse a King.
Mul. This kisse hath all my vitalls extaside.
Rou. Captain this king is mightily in love. Wel let her doe as she list, Ile
make use of his bounty.
Goodl. We should be mad men else.
Mullish. Grace me so much as take your seat by me.
Belle. Ile be so farre commanded.
Mull. Sweet, your age?
Besse. Not fully yet seaventeene.
Robert Yarington
fl.1594 ~ 1601
Two Lamentable Tragedies.
Enter Goodlacke, and Roughman.
Goodl. Long live the high and mighty King of Fesse.
Mull. If thou brings her then dost thou bring me life.
Say, will she come ?
Goodl. She will my Lord, but yet conditionally
She may be free from violence.
Mull. Now by the mighty Prophet we adore,
She shall live Lady of her free desires,
Tis love, not force, must quench our amorous fires.
Rough. We will conduct her to your presence straight.
Mull. We will have banquets, revels, and what not
To entertaine this stranger. Hoboyes.
Enter Besse Bridges vail’d, Goodlack, Roughman, Forset, and Moores.
A goodly presence! why’s that beauty vail’d ?
Bessse. Long live the King of Fesse.
Mull. I am amaz’d,
This is no mortall creature I behold,
But some bright Angell that is dropt from heaven,
Sent by our prophet. Captaine, let me thus
Imbrace thee in my armes. Load him with gold
For this great favour.
Besse. Captaine, touch it not
Know King of Fesse my followers want no gold,
I onely came to see thee for my pleasure,
And shew thee, what these say thou never saw’st
A woman borne in England. ’
Mull. That English earth may well be term’d a heaven,
That breedes such divine beauties. Make me sure
That thou art mortall, by one friendly touch.
Besse. Keepe off: for till thou swearst to my demands
I will have no commerce with Mullisheg,
But leave thee as I came.
Mull. Were’t halfe my Kingdome,
That, beautious English Virgin, thou shalt have.
Besse. Captaine reade.
Goodl. First, libertie for her and hers to leave the Land at her pleasure.
Next, safe conduct to and from her ship at her owne discretion.
Thirdly, to be free from all violence, eyther by the King or any of his
people.
Fourthly, to allow her mariners fresh victuals aboord.
Fifthly, to offer no further violence to her person, then what hee seekes by
kingly usage, and free intreaty
Mull. To these I vow and seale.
Besse. These being assur’d
Your courtship’s free, and henceforth we secur’d.
Mull. Say Gentlemen of England, what’s your fashion
And garbe of entertainment?
Goodl. Our first greeting
Begins slill on the lips.
Mull. Fayre creature, shall I be immortaliz’d
The one, of the murther of Maister Beech, a
Chaundler in Thames-streete, and his boye, done by Thomas Merry. 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 [etc.]
Enter Merry.
I liue in meane and discontented state,
But wherefore should I thinke of discontent:
I am belou’d, I haue a pretty house,
A louing sister, and a carefull man,
That doe not thinke their dayes worke well at end,
Except it bring me in some benefit:
And well frequented is my little house,
With many guestes and honest passengers,
Enter Beech and a friend.
Which may in time aduance my humble state,
To greater wealth and reputation.
And here comes friends to drinke some beare or ale,
Sit in his shop.
They are my neighbours, they shall haue the best,
Ne. Come neighbor Beech lets haue our mornings draught
And wele go drinke it at yong Merries house:
They say he hath the best in all this towne,
Besides they say he is an honest man,
And keepes good rule and orders in his house.
Beech. He’s so indeede, his conuersation,
Is full of honest harmlesse curtesie:
I dare presume, if that he be within,
Hele serue vs well, and keepe vs company,
See where he is, go in, ile follow you.
Striue curtesie.
Nay straine no curtesie you shall goe before.
Mer. Your welcome neighbour, you are welcome sir,
I praie sit downe, your verie welcome both:
*******
Mer. Farewell vnto you both.
His shop is stor’d he is not much indebt.
He hath a score of poundes to helpe his neede,
I and a score too if the trueth were knowne:
I would I had a shop so stor’d with wares,
And fortie poundes to buy a bargaine with,
When as occasion should be offered me,
Ide liue as merrie as the wealthiest man;
That hath his being within London walles,
I cannot buy my beare, my bread, my meate:
My fagots, coales, and such like necessaries,
At the best hand, because I want the coine,
That manie misers coafer vp in bagges,
Hauing enough to serue their turnes besides:
Ah for a tricke to make this Beeches trash,
Forsake his cofer and to rest in mine,
I marrie sir, how may that tricke be done:
Marrie with ease and great facilitie,
Exit Beech and neigh.
I will inuent some new-found stratagem,
To bring his coyne to my possession;
What though his death relieue my pouertie,
Gaine waites on courage, losse on cowardice.
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 haue your company.
Beech. Know you their names?
Mer. No truely nor the men.
I neuer stoode to question them of that,
But they desire your presence earnestlie.
Beech. I pray you tell them that I cannot come,
Tis supper time, and many will resort,
For ware at this time, aboue all other times;
Tis Friday night besides, and Bartholmew eue,
Therefore good neighbour make my iust excuse.
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.
People.
Beech. I am vnwilling, but I do not care,
And if I go to see the company.
Mer. Come quickly then, they thinke we stay too long,
Beech. Ile cut a peece of Cheese to drinke withall.
Mer. I take the farewell of your cutting knife,
Here is a hand shall helpe to cut your throate:
And giue my selfe a fairing from your chest:
What are you ready wi’l you goe along?
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,
Goe vp those staires, your friends do stay aboue,
Here is that friend shall shake you by the head,
And make you stagger ere he speake to you.
Then being in the vpper Rome Merry strickes him in the head fifteene times.
Now you are safe, I would the boy were so,
But wherefore wish I, for he shall not liue,
For if he doe, I shall not liue my selfe.
Merry wiped his face from blood.
Lets see what mony he hath in his purse,
Masse heres ten groates, heres something for my paine,
But I must be rewarded better yet.
Enter Rachell and Harry Williams.
Wil. Who was it Rachell that went vp 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 vp a light,
But suffer them to tarry in the darke.
Rach. I had forgot, but I will beare one vp.
Exit vp.
Wil. Do so I prethee, he will chide anon.
Exit.
Rachell speaketh to her brother.
Rachell. Oh brother, brother, what haue you done?
Mer. Why murtherd one that would haue murtherd me.
Rach. We are vndone, brother we are vndone,
What shall I say for we are quite vndone.
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,
Or in attempting doe the best I can.
****************************
Mer. Williams is fled, perchaunce to vtter all,
Thats but perchance, naie rather flatlie no,
But should he tell, I can but die a death,
Should he conceale, the boy would vtter it,
The boy must die, there is no remedie.
The boy sitting at his maisters dore.
5
VVin. I wonder that my maister staies so long,
He had not wont to be abroade so late:
Yonder comes one, I thinke that same is he.
Mer. I see the boye sits at his maisters doore,
Or now, or neuer, Merry stir thy selfe,
And rid thy hart from feare and iealousie:
Thomas Winchester go quicklie to your shoppe,
What sit you still, your maister is at hand.
When the boy goeth into the shoppe Merrie striketh six blowes on his head
& with the seauenth leaues the hammer sticking in his head, the boy
groaning must be heard by a maide who must crye to her maister. Merrie
flieth.
Mai. Oh God I thinke theres theeues in Beeches shop.
Enter one in his shirt and a maide, and comming to Beeches shop findes the
boy murthered.
****************************
Enter Merry and Rachel with a bag.
Mer. What hast thou sped? haue you bought the bag?
Rach. I brother, here it is, what is’t to do?
Mer. To beare hence Beeches body in the night.
Rach. You cannot beare so great a waight your selfe,
And ’tis no trusting of another man.
Mer. Yes well enough, as I will order it,
Ile cut him peece-meale, first his head and legs
Will be one burthen, then the mangled rest,
Will be another, which I will transport,
Beyond the water in a Ferry boate,
And throw it into Paris-garden ditch.
Fetch me the chopping-knife, and in the meane
Ile moue the Fagots that do couer him.
Remooue the Fagots.
Rach. Oh can you finde in hart to cut and carue,
His stone colde flesh, and rob the greedy graue,
Of his disseuered blood be sprinckled lims?
Mer. I mary can I fetch the chopping knife.
Rach. This deed is worse, than when you tooke his life.
Exit.
Mer. But worse, or better, now it must be so,
Better do thus, then feele a greater woe.
Ent.
Rach. Here is the knife, I cannot stay to see,
This barbarous deed of inhumanitie.
Exit Rachel.
Merry begins to cut the body, and bindes the armes behinde his backe with
Beeches garters, leaues out the body, couers the head and legs againe.
****************************
Enter a Porter and a gentleman.
3. Neig But who is that, that brings a heauy loade,
Behinde him on a painefull porters backe.
Gen. Praie gentlemen which call you Beeches shoppe?
3. Neig. This is the place, what wold you with the man?
Gent. Walking betime by Paris-garden ditch,
Hauing my Water Spaniell by my side,
When we approach’d vnto that haplesse place,
Where this same trunke lay drowned in a ditch,
My Spaniell gan to sent, to barke, to plunge,
Into the water and came foorth againe,
And fawnd on me, as if a man should say,
Helpe out a man that heere lyes murthered.
I seeing this, did make the ditch be dragd,
Where then was found this body as you see,
With great amazement to the lookers on.
3. Beholde the mightie miracles of God,
That sencelesse things should propagate their sinne,
That are more beastiall farre then beastlinesse,
Of any creature most insensible.
2 neigh. Cease we to wonder at Gods wondrous works,
And let vs labour for to bring to light,
Those masked fiends that thus dishonor him:
This sack is new, and loe beholde his marke
Remaines vpon it, which did sell the bag,
Amongst the Salters we shall finde it out,
When, and to whom, this bloody bag was sold.
3. Tis very likely, let no paines be spar’d,
To bring it out, if it be possible,
Twere pitty such a murther should remaine
Vnpunished, mongst Turkes and Infidels.
Source materials Page
1. neigh. Sirs, I do know the man that solde this bag,
And if you please, Ile fetch him presently?
****************************
1. neigh. Here is the Salters man that solde the bag,
Gent. My friend, how long since did you sell that bag?
And vnto whom, if you remember it?
Sal. I sould the bag good sir but yesterday,
Vnto a maide, I do not know her name.
3. neigh. Nor where she dwels.
Sal. No certeinly.
2. neigh. But what apparell had she on her back?
Sal. I do not well remember what she wore,
But if I saw her I should know her sure.
3. neigh. Go round about to euery neighbors house,
And will them shew their maides immediatly:
God graunt we may finde out the murtherers.
Go to one house, and knock at doore, asking,
Bring forth such maides as are within your house.
1. housekeeper. I haue but one, ile send her downe to you.
3. neigh. Is this the maide.
Come out maide.
Salt. No sir, this is not she.
Go to another, &c.
How many maides do dwell within this house?
2. house. Her’s nere a woman here, except my wife.
Go to Merryes.
3. neigh. Whose house is this?
Lon. An honest ciuill mans, cald Maister Merry,
Who I dare be sworne, would neuer do so great a murther
But you may aske heere to for fashion sake.
Rachel sits in the shop.
3. How now faire maide, dwels any here but you?
Thou hast too true a face for such a deed.
Rach. No gentle sir, my brother keepes no more.
3. neigh. This is not she?
Salt. No truly gentlemã .
3. This will not serue, we cannot finde her out,
Bring in those bodyes, it growes towards night,
God bring these damn’d murtherers at length to light.
(Second Edition, 1587, 3 vols in 2, Vol. III, pp. 1062- 1066).
I would haue thought that Merry had bin free,
2. wat. Is this the fruites of Saint-like Puritans,
I neuer like such damn’d hipocrisie.
3. wat. He would not loase a sermon for a pound,
An oath he thought would rend his iawes in twaine,
An idle word did whet Gods vengeance on:
And yet two murthers were not scripulous,
Such close illusions God will bring to light,
And ouerthrowe the workers with his might.
Ex. R.
Exeunt omnes.
****************************
Enter Cowley, and Williams.
Cow. Still in your dumpes, good Harry yet at last,
Vtter your motiue of this heauinesse:
Why go you not vnto your maisters house?
What are you parted? if that be the cause,
I will prouide you of a better place.
****************************
UUil. What haue you heard of Beech of Lambert hill?
And of his boy which late were murthered.
Cow. I heard, and sawe, their mangled carcases.
UUil. But haue you heard of them that murthered them?
Cow. No, would I had, for then Ide blase their shame,
And make them pay due penance for their sinne.
UUil. This I misdoubted, therefore will forbeare,
To vtter what I thought to haue reueald.
Cow. Knowst thou the actors of this murthrous deed,
And wilt conceale it now the deed is done?
Alas poore man, thou knowest not what thou doost,
Thou hast incur’d the danger of the lawe,
And thou mongst them must suffer punishment,
Vnlesse thou do confesse it presentlie.
VVil. What? shall I then betray my maisters life?
Cow. Better then hazard both thy life and soule,
To boulster out such barbarous villanie.
Why then belike your maister did the deed.
VVil. My maister vnawares escapt my mouth,
But what the Lord doth please shall come to light,
Cannot be hid by humaine pollicie:
His haplesse hand hath wrought the fatall end,
Of Robert Beech and Thomas UUinchester.
****************************
Enter Constable, three watchmen with Halberdes.
Con. Who would haue thought of all the men aliue,
That Thomas Merry would haue done this deede:
So full of ruth and monstrous wickednesse.
1. wat. Of all the men that liue in London walles.
Enter Merry and Rachel to execution with Officers with Halberdes, the
Hangman with a lather. &c.
Mer. Now sister Rachell is the houre come,
Wherein we both must satisfie the law,
For Beeches death and harmelesse Winchester:
Weepe not sweete sister, for that cannot helpe,
I doe confesse fore all this company,
That thou wert neuer priuie to their deathes,
But onelie helpest me when the deede was done,
To wipe the blood and hide away my sinne,
And since this fault hath brought thee to this shame,
I doe intreate thee on my bended knee,
To pardon me for thus offending thee.
Rach. I doe forgiue you from my verie soule,
And thinke not that I shed these store of teares,
For that I price my life, or feare to dye,
Though I confesse the manner of my death,
Is much more grieueuous then my death it selfe;
But I lament for that it hath beene said,
I was the author of this crueltie,
And did produce you to this wicked deede,
Whereof God knowes that I am innocent.
Mer. Indeed thou art, thy conscience is at peace,
Goe vp the lather.
And feeles no terror for such wickednesse,
Mine hath beene vexed but is now at rest,
For that I am assur’d my hainous sinne:
Shall neuer rise in iudgement gainst my soule,
But that the blood of Iesus Christ hath power,
To make my purple sinne as white as Snowe.
Oh be couragious sister, fight it well,
We shall be crown’d with immortallitie.
Rach. I will not faint, but combat manfully,
Christ is of power to helpe and strengthen me.
Officer. I pray make hast, the hower is almost past.
Mer. I am prepar’d, oh God receiue my soule,
Forgiue my sinnes, for they are numberlesse,
Receiue me God, for now I come to thee.
Turne of the Lather: Rachel shrinketh.
Offi. Nay shrinke not woman, haue a cheerefull hart.
Rach. I, so I do, and yet this sinfull flesh,
Will be rebellious gainst my willing spirit.
Come let me clime these steps that lead to heauen,
Although they seeme the staires of infamie:
[SCENE 1
....
MOSBY I happened on a painter yesternight,
The only cunning man of Christendom,
For he can temper poison with his oil
That whoso looks upon the work he draws 230
228 only most cunning possessing skill in magic
229 temper mix 213 The mermaid, often equated in mythology with the Siren,
lured sailors to destruction with her enchanting and seductive singing.
Thus God forgiue my sinnes, receiue my soule,
And though my dinner be of bitter death,
I hope my soule shall sup with Iesus Christ,
And see his presence euerlastingly.
Offi. The Lord of heauen haue mercy on her soule,
And teach all other by this spectacle,
To shunne such dangers as she ran into,
By her misguided taciturnitie:
Cut downe their bodies, giue hers funerall,
But let his body be conueyed hence,
To Mile-end greene, and there be hang’d in chaines.
Dyeth.
Exeunt omnes.
.
The Tragedy of
Master Arden of Faversham
About this time there was, at Faversham in Kent, a gentleman named
Arden most cruelly murdered and slain by the procurement of his own
wife. The which murder, for the horribleness thereof (although otherwise
it may seem to be but a private matter, and therefore, as it were,
impertinent to this history), I have thought good to set it forth somewhat
at large, having the instructions delivered to me by them that used some
diligence to gather the true understanding of the circumstances. This
Arden was a man of a tall and comely personage, and matched in
marriage with a gentle-woman young, tall and well favoured of shape and
countenance, who chancing to fall in familiarity with one Mosby (a tailor
by occupation, a black swart man, servant to the Lord North), it happened
this Mosby, upon some misliking, to fall out with her. But she, being
desirous to be in favour with him again, sent him a pair of silver dice by
one Adam Fowle, dwelling at the Flower-de-Luce in Faversham.
After which he resorted to her again, and oftentimes lay in Arden’s
house, insomuch that within two years after he obtained such favour at
her hands that he lay with her, or, as they term it, kept her, in abusing her
body. And although (as it was said), Master Arden perceived right well
their mutual familiarity to be much greater than their honesty, yet because
he would not offend her and so lose the benefit which he hoped to gain at
some of her friends hands in bearing with her lewdness, which he might
have lost if he should have fallen out with her, he was contented to wink
at her filthy disorder, and both permitted and also invited Mosby very
often to lie in his house. And thus it continued a good space before any
practice was begun by them against Master Arden. She, at length,
inflamed in love with Mosby, and loathing her husband, wished and after
practised the means how to hasten his end.
There was a painter dwelling in Faversham who had skill of poisons,
as was reported. She therefore demanded of him whether it were true that
he had such skill in that feat or not, and he denied not but that he had
indeed. ‘Yea,’ said she, ‘but I would have such a one made as should have
most vehement and speedy operation to dispatch the cater thereof.’ ‘That
can I do,’ quoth he, and forthwith made her such a one, and willed her to
put it into the bottom of a porringer and then after to pour milk on it;
which circumstance she forgetting, did clean contrary, putting in the milk
first, and afterward the poison. Now Master Arden purposing that day to
ride to Canterbury, his wife brought him his breakfast, which was . . . .
Source
From Holinshed’s Chronicles of England, Scotland and Ireland
Shall , with the beams that issue from his sight,
Suck venom to his breast and slay himself.
Sweet Alice, he shall draw thy counterfeit,
That Arden may by gazing on it perish.
ALICE Ay, but Mosby, that is dangerous, 235
For thou, or I, or any other else,
Coming into the chamber where it hangs, may die.
MOSBY Ay, but we’ll have it covered with a cloth
And hung up in the study for himself.
ALICE It may not be, for when the picture’s drawn, 240
Arden, I know, will come and show it me.
MOSBY Fear not; we’ll have that shall serve the turn.
This is the painter’s house; I’ll call him forth.
ALICE But, Mosby, I’ll have no such picture, I.
MOSBY I pray thee leave it to my discretion. 245
How, Clarke!
Here enters CLARKE
Oh, you are an honest man of your word; you served me well.
6
233 counterfeit portrait, likeness 257 frame fashion
231 It was a contemporary theory that the eyes sent out beams to the object
sighted. 243 the painter’s house probably referring to one of the doors at the rear
of the stage.
Here enters GREENE, [BLACK] WILL, and SHAKEBAG
RDEN ********
A
Now, Master Franklin, let us go walk in Paul’s.
Come, but a turn or two and then away.
Exeunt [ARDEN, FRANKLIN, and MICHAEL]
GREENE The first is Arden, and that’s his min.
The other is Franklin, Arden’s dearest friend.
BLACK WILL Zounds, I’ll kill them all three. 35
GREENE Nay, airs, touch not his man in any case;
But stand close and take you fittest standing,
And at his coming forth speed him.
To the Nag’s Head, there is this coward’s haunt.
But now I’ll leave you till the deed be done.
Exit GREENE 40
SHAKEBAG If he be not paid his own, ne’er trust Shakebag.
BLACK WILL Sirrah Shakebag, at his coming forth I’ll run him
through, and then to the Blackfriars and there take water and away.
SHAKEBAG Why, that’s the best; but see thou miss him not.
BLACK WILL How can I miss him, when I think on the forty angels I
must have more?
Here enters a PRENTICE
37 stand dose conceal yourselves 37 fittest standing best position
38 speed kill, dispatch 41 paid his own i.e. killed
43 take water take a boat across the Thames
39 Nag’s Head A tavern in London.
43 Blarckfriars A fashionable district of London which retained the right of
sanctuary oven after the dissolution of the Dominican monastery in 1538.
PRENTICE
’Tis very late; I were best shut up my stall, for here will be old filching
when the press comes forth of Paul’s.
Then lets he down his window, and it breaks BLACK WILL’S head
BLACK WILL Zounds! Draw, Shakebag, draw! I am almost killed.
PRENTICE We’ll tame you, I warrant. 50
BLACK WILL Zounds, I am tame enough already.
Here enters ARDEN, FRANKLIN, and MICHAEL
ARDEN What troublesome fray or mutiny is this?
FRANKLIN ’Tis nothing but some brabbling, paltry fray,
Devised to pick men’s pockets in the throng.
ARDEN Is’t nothing else? Come, Franklin, let us away. 55
Exeunt [ARDEN, FRANKLIN, and MICHAEL]
BLACK WILL What ’mends shall I have for my broken head?
PRENTICE Marry, this ’mends, that if you get you not away all the
sooner, you shall be well beaten and sent to the Counter.
Exit PRENTICE
BLACK WILL Well, I’ll be gone; but look to your signs, for I’ll pull
them
47 stall i.e., book stall. St Paul’s churchyard was a centre for selling books, and the
sellers’ stocks were stored in the vaults of the Cathedral. 48 s.d. A simple structure
resembling a book-seller’s stall, and incorporating a practical window or shutter
which could be ‘let down’ is needed here, and would probably be brought on stage
for this scene only. 48 old filching much pilfering press crowd 51 tame hurt
53 brabbling riotous, brawling s.d. breaks grazes, bruises　56 ’mends cure,
reparation
58 Counter a London prison.
Scene IV
Here enters MICHAEL
MICHAEL　My master would desire you come to bed. 55
FRANKLIN Is he himself already in his bed?
Exit FRANKLIN. Manet MICHAEL
MICHAEL He is and fain would have the light away.
Conflicting thoughts encamped in my breast
Awake me with the echo of their strokes;
Source materials Page
ミニ・レポート第 1 回　課題
Two Lamentable Tragedies で「神中心の世界」から「人間中心
の世界」への転換がどのように表れているか、述べなさい。
執筆及び提出要領
（１）長さは 800 字程度が目安。
（２）内容としては、講義の内容をまとめるだけで十分です。自
分の考えを追加してもよい。
（３）提出は次のいずれかの方法によってください。
○教室で直接提出。
○電子メールで次のアドレス宛に提出。
cdhara2012　@　lab.　twcu.ac.　jp
※メール本文に書いても、添付ファイルとしてもけっこうです。
（４）提出期日 :　６月 22 日（水）の授業終了時、電子メールの
場合は同日 24 時。
nd I, a judge to censure either side,
A
Can give to neither wished victory.
My master’s kindness pleads to me for life
With just demand, and I must grant it him;
My mistress she hath forced me with an oath,
48 beguile divert attention away from 49 careful full of care
was 60 censure pronounce judgement on
60
54 Was i.e. there
Scene XIV
ARDEN Come, Alice, is our supper ready yet?
ALICE It will by then you have played a game at tables.
ARDEN Come, Master Mosby, what shall we play for?
MOSBY Three games for a French crown, sir, and please you.
ARDEN Content.
225
Then they play at the tables
[Enter BLACK WILL and SHAKEBAG]
BLACK WILL [Aside] Can he not take him yet? What a spite is that!
ALICE [Aside] Not yet, Will. Take heed he see thee not.
BLACK WILL [Aside] I fear he will spy me as I am coming.
MICHAEL [Aside] To prevent that, creep betwixt my legs.
MOSBY One ace, or else I lose the game.
[He throws the dice] 230
ARDEN Marry, sir, there’s two for failing.
MOSBY Ah, Master Arden, ‘Now I can take you.’
Then [BLACK] WILL pulls him down with a towel
ARDEN Mosby! Michael! Alice! What will you do?
BLACK WILL Nothing but take you up, sir, nothing else.
MOSBY There’s for the pressing iron you told me of. 235
[He hits him with the iron]
SHAKEBAG And there’s for the ten pound in my sleeve. [Stabs him]
ALICE What, groans thou? Nay then, give me the weapon.
Take this for hind’ring Mosby’s love and mine.
[Stabs him]
MICHAEL Oh, Mistress!
[ARDEN dies]
231 for failing i.e., ‘in case one is not enough’ (ace for, 1, 225).
234 take you up deal with you (playing on the ‘watchword’).
237 the weapon presumably Shakebog’s sword or dagger.
....
Exeunt [BLACK WILL and SHAKEBAG]
Enter SUSAN
SUSAN Mistress, the guests are at the doors.
Hearken, they knock. What, shall I let them in?
ALICE Mosby, go thou and bear them company. Exit MOSBY And,
Susan, fetch water and wash away this blood.
[Exit SUSAN, returns with water, and washes the floor]
wands.
Ow. Rees is petter preake Rees his pate: heere Rees carry her home.
Ri. Would I were at gallowes, so I were not heere:
Gwen. Doe and her tare, doe and her tare, see you now, what shall her
doe with wands? peate Gwenthyan? podie and mag Gwenthyan put her
finger in me hole: ha, by God by God, is scradge her eies out that tudge
her, that tawg to her, that loog on her, marg you that Sir Owen?
サー・オーウェン　ほれ、見てみろや、こいつぁけっこうな棒だべ、
グウェンシアンや。
グウェンシアン［召使いのライスに］リース、あれをぶんどって
ボキボキおっちまいな。
ライス　何と仰います？
グウェンシアン　何と仰いますだど、この生意気もんめが、こう
しろっつぅのを一回でなぐ、二回も三回も四回も、おめにいわ
ねばなんねのか。あれを折っちょれ。
サー・オーウェン　リースは頭をかち割った方がええってさ。ほれ、
リース、これを中さ持ってけ。
ライス　いやはや、こんなところにいるくらいなら、絞首台の方
がましってもんだ。
グウェンシアン　やれるもんだばやってみれ、やれるもんだばや
ってみればええ、ええか、あんた、その棒で何ばする気だ？グ
ウェンシアンの体ばぶって、言うこときかせようっつう魂胆だ
べな。とんでもねえ、ええか、あたいを殴るようなやつはな、
あたいを懲らしめようなんてやつは、あたいに眼付けしただけ
でも、目ん玉くりぬいてやっからな。ええか、サー・オーウェン。
（三幕二場）
SUSAN The blood cleaveth to the ground and will not
out.
ALICE But with my nails I’ll scrape away the blood. ––
The more I strive the more the blood appears!
SUSAN What’s the reason, Mistress, can you tell?
ALICE Because I blush not at my husband’s death.
254-7 Cf. Macbeth, II.ii, 59-60: ‘Will all great Neptune’s ocean
wash this blood/Clean from my hand?’
[SCENE XIV
. . . .
Then they [MOSBY, GREENE, MICHAEL, and SUSAN)
bear the body into the fields
ALICE Now let the judge and juries do their worst; 355
My house is clear and now I fear them not.
[Enter MICHAEL and SUSAN]
SUSAN As we went it snowed all the way,
Which makes me fear our footsteps will be spied.
ALICE Peace, fool! The snow will cover them again.
SUSAN But it had done before we came back again. 360
ALICE Hark, hark, they knock! Go, Michael, let them in.
[MICHAEL opens the door]
Scene XVI
Here enters the MAYOR, MOSBY, ALICE, FRANKLIN, MICHAEL,
and SUSAN (guarded by the WATCH]
MAYOR See, Mistress Arden, where your husband lies.
Confess this foul fault and be penitent.
ALICE Arden, sweet husband, what shall I say?
The more I sound his name the more he bleeds.
This blood condemns me, and in gushing forth 5
Speaks as it falls and asks me why I did it.
Forgive me, Arden; I repent me now;
And would my death save thine thou shouldst not die.
Rise up, sweet Arden, and enjoy thy love,
And frown not on me when we meet in heaven;
10
In heaven I love thee though on earth I did not.
MAYOR Say, Mosby, what made thee murder him?
FRANKLIN Study not for an answer, look not down.
His purse and girdle found at thy bed’s head
Witness sufficiently thou didst the deed. 15
It bootless is to swear thou didst it not.
MOSBY I hired Black Will and Shakebag, ruffians both,
And they and I have done this murd’rous deed.
But wherefore stay we? Come and bear me hence.
FRANKLIN
20
Those ruffians shall not escape. I will up to London
And get the Council’s warrant to apprehend them.
Exeunt
13 study not do not try to invent 14 girdle belt (to carry the purse)
16 bootless useless, pointless
4-6 It was popularly believed that the corpse of a murdered man bled in the
presence of his killer. Cf. Richard III, I.ii, 55-61.
Scene XVIII
ALICE Let my death make amends for all my sins.
MOSBY Fie upon women! –– this shall be my song.
But bear me hence, for I have lived too long.
35
A Warning for Fair Women　(1599)
A Warning for Faire Women. Containing, The most tragicall and
lamentable murther of Master George Sanders of London Marchant, nigh
Shooters hill. Consented vnto By his owne wife, acted by M. Browne,
Mistris Drewry and Trusty Roger agents therin: with their seuerall ends.
As it hath beene lately diuerse times acted by the right Honorable, the
Lord Chamberlaine his Seruantes London
7
Enter Anne Sanders with her little sonne, and sit at her doore.
Boy. Praie ye mother when shal we goe to supper?
Anne. Why, when your father comes from the Exchange,
Ye are not hungrie since ye came from schoole.
Boy. Not hungrie (mother,) but I would faine eate.
Anne. Forbeare a while vntil your father come,
I sit here to expect his quicke returne.
Boy. Mother, shal not I haue new bow and shafts,
Against our schoole go a feasting?
Anne. Yes if ye learn,
And against Easter new apparel too.
あたいは折れたわけじゃあないわよ、でもね、サー・オーウェン
Boy. Youle lend me al your scarfes, and al your rings,
が頭（かしら）だってのは認めるわ。頭のあんたを怒らせて頭痛
And buy me a white feather for my veluet cappe,
にしちまったのは悪かったけど、だからってね、あんた、あんま
Wil ye mother? yea say, praie ye say so.
Anne. Goe pratling boy, go bid your sister see
り勝ち誇って女房を踏みつけにしちゃいけないよ。そんなことし
My Closet lockt when she takes out the fruite.
ようもんなら、誰が何と言おうがあたいの好きなようにさせても
Boy. I wil forsooth, and take some for my paines. Exit Boy らうからね。 （五幕二場）
Anne. Wel sir sauce, do’s your master teach ye that?
「夫を尻に敷きたい皆様方よ、グウェンシアンのひそみに倣うとい
I praie God blesse thee, thart a verie wagge.
5
いわ、哀れな女たちがいつも下に置かれるなんて不当なことなんだ
(B2v)
から。
」　（五幕二場）
辛抱強いグリゼルダ Patient Griselda
サルッツォ侯爵ガルティエリは領内の貧農ジャニクーロの娘グ
リゼルダを妻に迎える。グリゼルダは類い希な美貌に恵まれてい
るのみならず、温厚で貞淑な、美徳に満ちた女性であった。とこ
ろが、侯爵は妻がどれほど自分に忠実であるかを試そうと考える。
まず二人の間に生まれた娘と息子を、卑賤の血を引いているから
と、次々に妻から引き離し、家臣の手で殺させたと彼女に思いこ
ませる。さらに、身分の低いお前ではやはり自分とは釣り合わな
いからといって、グリゼルダを離縁して、高貴な血筋の女性と再
婚することを宣言する。侯爵の冷酷な仕打ちはさらに続き、実家
に帰されて昔のように貧しい生活を送っていたグリゼルダを呼び
寄せると、自分と新しい妻の結婚披露宴の準備を取り仕切るよう
に命じる。ところが、その宴会の席上で、侯爵はグリゼルダこそ
自分の真の花嫁であり妻であると宣言し、親類の女性に秘かに養
育させていた娘と息子とを彼女に引き合わせてやる。度重なる夫
の非道な仕打ちにも何一つ反抗することなく、自分の悲しみや苦
しみはすべて胸にしまい込んでひたすら従い続けたグリゼルダは、
ついに報われたのであった。　（Boccacio, Decameron, II 334–343）
Thomas Dekker, Henry Chettle, William Haughton,
The Pleasant Comedy of Patient and Meek Grissil
アンチ・グリゼルダ
Owen. Owe, looge heere, fine wandes Gwenthyan, is not?
Gwe. Rees tag them and preag them in peeces.
Ric. What say you forsooth?
Gwe.　What say you forsooth? you saucie knaue, must her tell her
once, and twice, and thrice, and foure times, what to doe? preag these
結婚しない女
オノフリオ　あなたは男たちに嫌われたいのですか？
ジュリア　そうよ、愛されたくはないわ、あらゆる神々の中で私
がいちばんお仕えしたくないのは愛の神ヴィーナスなのよ。
ファーニーズ　どうやらあなたは地獄で猿を牽く［“lead apes in
hell” 女性が独身のままで死ぬとそのような運命が待っているという俗
信］おつもりのようですね。
ジュリア　その悪意に満ちた諺は、現世で結婚したものたちに向
けられたものなのよ。なぜなら、結婚することは地獄で生きる
ようなものですからね。
ファーニーズ　たしかにバーリィブレイク［“barlibreake” 男女のペ
ア三組で行う一種の鬼ごっこ、一組が「地獄」と呼ばれる中心
部にいて、周囲のカップルを捕まえる］ではそうですね。
ジュリア　妻こそが猿なのよ、そして、結婚という重荷こそその
猿の足を引っ張る重しなのですから、私はそれに縛られるつも
りはないわ。ファーニーズ様、大切な処女性こそが私たちを地
上の聖人、天上の星々にしてくれるものなのよ。この地上でも
処女は立派に見えますが、天上では栄光に満ちているのです。
天上では求愛などないのにすべてが美しく、天上では結婚など
ないのに誰もが愛し合うのです。　（二幕一場）
ここにお集まりの皆様の中には女性の独身者の方々、独身の乙女
たちが—自由の中で生き、それを愛する処女の皆様がおいでの
ことでしょう、結婚という戦いを忌み嫌う皆様は私に共感してく
ださることでしょう。妻となっていつも地獄の生活を送るくらい
なら未婚のまま死んで、地獄で猿を牽いた方がましなのです。　（五幕二場）
Source materials Page
男装するグリゼルダ
Anonymous, The Fair Maid of Bristow (1604)
あらすじ
Challener はブリストル Bristow の市長 Sir Godfrey の娘 Annabell と婚約していた。市長の誕生日の祝いの席に友人の Vallnger
を連れてきてアナベルに引き合わせる。アナベルに一目惚れして
しまったヴァレンジャーとチャレナーは決闘となり、ヴァレン
ジャーを負傷させたチャレナーは逃走する。 ヴァレンジャーはゴ
ドフリー家で看病されるあいだにアナベルと恋仲となり結婚する。
【副筋】Centloe の友人 Harbert は、セントローが娼婦の Florence
を囲っていることを非難し、仲違いしてしまう。しかし、Blunt と
いう召使いに変装し、セントローに仕える。
仇敵が自分の婚約者と結婚したことを知ったチャレナーは、イ
タリアから来た Doctor に変装してブリストルにやってくる。結
婚の祝いにやってきたセントローの連れのフローレンスの色香に
迷ったヴァレンジャーは、彼女を手に入れるために妻とセントロー
を殺そうと謀る。しかし、ドクトル（実はチャレナー）をその手
先に使おうとしたため、彼に先を越されて失敗する。フローレン
スは自分のところに隠れ家を求めにきたヴァレンジャーを冷たく
追い返し、一方ブラント（実はハーバート）を籠絡してセントロー
殺しの罪をヴァレンジャーに着せようとする。ブラントはセント
ローにしびれ薬を飲ませ、彼が眠っている間に、自分の血をヴァ
レンジャーの剣に着け、人殺しと叫び回って逮捕させる。セント
ローの「死体」は友人のハーバートとして引き取る。
折しも十字軍の遠征から帰還したリチャード王がブリストルに
立ち寄り、王のじきじきの裁きが行われることになる。ヴァレン
ジャー、フローレンス，ブラント（実はハーバート）の三名が殺
人のかどで有罪を宣告される。自分の放埒ぶりを悔いたヴァレン
ジャーは、無実であるにもかかわらず、いさぎよく死刑になろう
とする。妻のアナベルは彼に裏切られたにもかかわず必死に彼の
助命を嘆願する。しかし、リチャード王は「ヴァレンジャーの身
代わりに死刑になる男が出てこないかぎりは助命しない」と宣言
する。死刑執行のとき、チャレナーと男装したアナベルがそれぞ
れ身代わりを申し出る。王は法の執行を妨害したとしてヴァレン
ジャーにアナベルを斬首するように命じる。アナベルは喜んで死
のうとするが、ヴァレンジャーは地獄に落ちた方がましだと拒否
する。チャレナーはアナベルの命を救うため自分が身代わりにな
る主張する。最後までふてくされていたフローレンスも改心する。
そこでブラント＝ハーバートが正体を表し、セントローが生きて
姿を見せる。ヴァレンジャーとアナベルは和解、セントローとハー
バートは友情の大切さを認識する。フローレンスは娼婦矯正院へ
送られることとなる。
Anonymous, The Fair Maid of Bristow (1604)
アナベル登場
ヴァレンジャー　ちくしょう、いったいぜんたいどういう風の吹
き回しでここへ来やがったんだ。おい、あばずれ、何の用だ。
［……］
フローレンス［傍白］　私にいい考えがあるわ。うまくいったら、
彼女がここから去る前にどれだけ辛抱強いか試せるわよ。
アナベル　あなたと私は肉体と魂のようなものです。あなたがい
なければ私は死んでいるのも同然です。
フローレンス　あらまあ、このラバ［“rebato” 飾り襟］すてきだわ。
あたいもこんなのが欲しいな。
ヴァレンジャー［フローレンスに］　これが気に入ったのかい、お
前。じゃあ、お前にやろう。［アナベルに］お前なんぞもっと
粗末なもので十分だ。
アナベル　よろこんで差し上げますわ、さあ、ご婦人、どうぞお
持ちください。家にはもっと上等なものもありますから、ご一
緒に来ていただければ、それも差し上げましょう。
フローレンス　これはまあ、何てすてきな仕立てのいいガウンだ
こと。こんな品物を買うためなら、馬で二〇マイルだって走る
わよ。
ヴァレンジャー　お前、さっさとそれを脱げ、お前にはもっと粗
末なやつがお似合いだ。
アナベル　ヴァレンジャー様、私の持ち物はすべてあなたのもの
です。ご自分のものなのですから、どうぞお好きなような誰に
でもあげてください。私のものはすべてあげてけっこうです。
ただ、あなたご自身だけは残しておいてください［……］。　(C2r)
Enter at one doore, Anabell disguised like a man, and at another
Challener.
Anabell Stay: heere is one will die for Vallenger.
Challener Nay heere is one will die for Vallenger.
Godfrey Be blind mine eies, O vertuous Challener.
Come to redeeme his enemy from death.
Vallenger Challener, by the deep wrongs that I haue done to thee,
O hide thy face, thy lookes are far more keene,
Then is the axe, must strike the fatall stroke:
For thee sweet youth, thou canst aledge no reason
Why thou shouldst die for me,
Be iust O king.
No torment worse, then fruitles lingering.
King. Dispatch them executioner: dispatch.
Anabell Stay executioner: do me iustice king,
thy word is past that vallenge shall liue,
If any one will loose his life for him,
And that will I: ile dy for Vallenger,
Challener Nay heere is one, that for the loue he beares,
to Anabell, but not to him, will die for Vallenger.
Anabell My plea was entred first, my claime must stand.
Challener Tell me but what thou art, rash yong man,
that dares enter into this place before me:
humannity doth teach thee thou euer shouldst
Giue place vnto thine elders, in all asaies,
how rude then and vnmannerly art thou,
To forget this common courtesie,
that parents teach their children euery houre,
Anabell Sir, in humanity I must confesse,
So much as you aledge but not in death.
the graue is as the publick theater,
the roome being taken vp, by them first enter,
the second sort must sit but as they come.
Besids you say you die for Anabell,
She nere deserued death: therfore giue your plea
to him that hath true title for the same.
ジェイン・ショアの物語
Shore [née Lambert], Elizabeth [Jane] (d. 1526/7?),
royal mistress, was the daughter of John Lambert (d. 1487), citizen
and mercer of London, and Amy (d. 1488), daughter of Robert Marshall,
citizen and grocer of London. She married William Shore (d. 1494), a
London mercer, but the marriage was annulled in 1476, at her petition,
on the grounds of his impotence. The main source for her relationship
with Edward IV is Thomas More, who is responsible (in his History of
Richard III) for the story that Edward claimed to have three concubines:
the merriest, the wiliest, and the holiest harlot in his realm. ‘Shore’s wife’
(the name Jane was attached to her by the dramatist Thomas Heywood in
1599) was the merriest; in More’s words: ‘a proper wit had she, & could
both rede wel & write, mery in company, redy & quick of aunswer, neither mute nor ful of bable, sometime taunting without displesure & not
without disport’. More continued with a famous tribute: For many he had,
but her he loved, whose favour to saithe trouth … she never abused to any
mans hurt, but to many a mans comfort. … And finally in many weighty
sutes, she stode many men in gret stede, either for none, or very smal re-
wardes, & those rather gay then rich: either for that she was content with
the dede selfe well done, or for that she delited to be suid unto, & to show
what she was able to do wyth the king … (More, 56)
Perhaps predictably, no source from Edward's reign names Elizabeth
Shore as a royal mistress, but she does enter the historical record in the
next reign. The king’s death on 9 April 1483 apparently left her in need of
a new protector, and a contemporary reference casts Thomas Grey, marquess of Dorset in that role. In October 1483, when he was in rebellion
against Richard III, he was accused of holding ‘the unshameful and mischievous woman called Shore’s wife in adultery’ (CPR, 1476–85, 371).
The great chronicle of London and Thomas More, by contrast, link her
instead with Edward’s friend and chamberlain William, Lord Hastings.
According to the Great Chronicle, she was called to answer for some of
Hastings’s goods after his death in June 1483 and her own goods were attached by the sheriffs of London. She was also put to public penance ‘for
the lyfe that she ledd with the said lord hastyngys and othir grete astatys’
(Thomas and Thornley, 233). More’s account of that penance is another
famous set piece: ‘In which she went in countenance & pace demure so
womanly, & albeit she were out of al array save her kyrtle only: yet went
she so fair & lovely … that her great shame wan her much praise’ (More,
54–5).. . . .
Lynom was dead by 29 July 1518, and this perhaps provides the context for More's description of Elizabeth fallen into penury in her old age.
But More's claim that she had to resort to begging seems overdrawn,
particularly if the Thomas Lynom who was active in Wales after 1518
was her son. No definite identification of her children can, however, be
made. Her father's will mentions a Julian Lynom, bequeathed 40s., who
was perhaps the first child of the marriage, but he cannot be traced. It is
not known exactly when Elizabeth died. More writes of her as still alive,
though very old, when he was composing his History of Richard III in the
second decade of the sixteenth century; a variant text of the History states
that she died in the eighteenth year of Henry VIII (1526/1527). Though
not implausible, the date cannot be proved. As Jane Shore she enjoyed a
considerable literary afterlife, as the subject of poems, ballads, and plays;
the most notable of the latter was Nicholas Rowe's Tragedy of Jane Shore,
first produced in 1714. She also appears in a number of historical novels.
Thomas Heywood,
The First and Second Parts of
King Edward IV
(1599)
The First Part [Scene 17]
Enter two prentizes preparing the Goldsmiths Shop with plate.
....
1. P. I that must serue to day. Where is the weightes and ballance?
2. Pr. All readie, harke my Mistresse comes.
Exit 1. Pren.
Enter Mistresse Shoare with her worke in her hand.
Ia. Sir Boy, while I attend the shop my selfe,
See if the workeman haue dispatcht the Cup,
How many ounces weighes it?
2 Pr. Twenty forsooth.
Ia. What said the Gentleman to the fashion?
2 Pr. He told my Maister, I was not within.
I. Goe Sir make haste, your Masiter is in Cheapside: Take heed ye were
best your loitring be not spide.
The boy departs, and shee sits sowing in her shop.
Enter the king disguised.
Ki. Well fare a Case to put a king in yet,
Good Mistris Shoar this doth your loue procure,
This shape is secret, and I hope ti’s sure,
The Watermen that daylie use the Court,
And see me often, knew me not in this,
At Lyon Key I landed in their view,
Yet none of them tooke knowledge of the king,
If anie gallant striue to haue the wall,
Ile yeeld it gentlie: Soft here must I turne,
Heres Lumbard streete, and heres the Pellican,
8
And theres the Phenix in the Pellicans nest,
O rare perfection of rich natures worke,
Bright twinckling sparke of pretious Diamond,
Of greater value then all India,
Were there no Sunne, by whose kind louelie heat
The earth bringes forth those stones wee holde of prize,
Her radient eyes deiected to the ground,
Would turne each peble to a Diamond.
Gaze greedie eyes and be not satisfied,
Till you find rest, where harts desire doth bide.
I. What wold you buy Sir that you looke on here?
K. Your fairest Jewel, be it not too deare.
First how this Saphire Mistresse that you weare?
....
Tis set indeed vpon the fairest hand, that ere I saw.
Iane. You are disposde to iest, but for the value, his maiestie might weare
it.
King Ed. Might hee ifaith?
Iane. Sir tis the ring I meane.
Ki. Ed. I meant the hand.
Iane. You are a merrie man,
I see you come to cheape, and not to buy.
....
He discouers himselfe.
Iane. Now I beseech you let this strange disguise,
Excuse my boldnesse to your maiestie.
(she kneeles
What euer we possesse is al your highnesse,
Onely mine honour, which I cannot graunt,
K. Onely thy loue (bright angell) Edward craues,
For which I thus aduentured to see thee.
Enter maister Shoare.
Iane. But here comes one, to whom I onely gaue it,
And he I doubt wil say you shall not haue it.
King. Am I so soone cut off? oh spight.
How say ye mistris, will ye take my offer?
Iane. Indeede I cannot sir afford it so
King. Youle not be offered fairlier I beleeue.
Iane. Indeede you offer like a Gentleman.
But yet the Iewell will not so bee left.
Sho. Sir, if you bid not too much vnder-foot.
Ile driue the bargaine twixt you and my wife.
Ki. Alas good Shoare, my self dare answere no.
King aside.
Nothing can make thee such a Iewell forgoe.
Shee saith you shall be too much looser by it.
The Second Part
Enter the two Parators, with Mistris Shoare in a white Sheete, bare
footed, with her haire about her eares, and in her hand a waxe taper.
1 Par. Now Mistris Shoare, here our commission ends, Put off your roabe of shame, for this is Algate, Whither it was appoynted we should bring you. Ia. My roabe of shame? Oh that so foule a name Should be applyed vnto so faire a garment, Which is no more to be condemnde of shame, Than snow of putrefaction is deserude, To couer an infectious heape of dung, My roabe of shame, but not my shame putte off, For that sits branded on my forehead still, And therefore in derision was I wrapt, In this white Sheete: and in derision bore This burning Taper, to expresse my follie, That hauing light of reason to direct mee, Delighted yet in by-waies of darke error. 2 p. Well Mistris Shore, I hope you grudge not vs, We shewde you all the fauour poore men could. Ia. Oh God forbid: I know the kings Edict, Set you a worke, and not your owne desires. 1 par Aye, truely mistris, and for our parts, We could be well content twere otherwise, But that the lawes seuere, & so wee leaue you. Exit.
Source materials Page
王政復古期の劇場と文学
A Timeline
1642 - THE ENGLISH CIVIL WAR (the Puritan Revolution)
Civil War (until 1645) begins with battle of Edgehill between
Cavaliers (Royalists) and Roundheads (Parliamentarians)
CLOSING OF THE THEATRES 2 September, 1642
1645 - Formation of Cromwell's New Model Army; Battle of
Naseby; Charles I defeated by Parliamentary forces
1649 - Charles I is tried and executed; The Commonwealth, in
which England is governed as a republic, is established and lasts
until 1660
1658 - Oliver Cromwell dies; succeeded as Lord Protector by son
Richard; Battle of the Dunes, England and France defeat Spain;
England gains Dunkirk
1659 - Richard Cromwell forced to resign by the army; 1660 THE RESTORATION Convention Parliament restores Charles II
to throne
A patent issued to two theatre companies one led by William
Davenant, The Duke's Men was for younger performers, while
older, more experienced actors were in The King's Company,
led by Thomas Killigrew .
1665 - Great Plague in London
1666 - Great Fire of London
1667 - Dutch fleet defeats the English in Medway river; treaties of
Breda among Netherlands, England, France, and Denmark
1678 - 'Popish Plot' in England; Titus Oates falsely alleges a
Catholic plot to murder Charles II
1679 - Act of Habeas Corpus passed, forbidding imprisonment
without trial; Parliament's Bill of Exclusion against the Roman
Catholic Duke of York blocked by Charles II; Parliament
dismissed; Charles II rejects petitions calling for a new
Parliament; petitioners become known as Whigs; their opponents
(royalists) known as Tories
1681 - Whigs reintroduce Exclusion Bill; Charles II dissolves
Parliament
1685 - James II of England and VII of Scotland (to 1688);
rebellion by Charles II's illegitimate son, the Duke of Monmouth,
against James II is put down
1686 - James II disregards Test Act; Roman Catholics appointed
to public office
1688 - 'GLORIOUS REVOLUTION'; William III of Orange is
invited to save England from Roman Catholicism, lands in
England, James II flees to France
1689 - Convention Parliament issues Bill of Rights; establishes a
constitutional monarchy in Britain; bars Roman Catholics from
the throne; William III and Mary II become joint monarchs of
England and Scotland (to1694).
William Wycherley 1641-1716
Love in a Wood,
or St James's Park.
1672
The Persons.
Mr. Ranger, A Young Gentleman of the Town.
Mr. Vincent, A Young Gentleman of the Town.
Mr. Valentine, A Young Gentleman of the Town
Alderman Gripe, seemingly precise, but a covetous,leacherous, old
Usurer of the City.
Sir Simon Addleplot, a Coxcomb, always in pursuit of Women of great
Fortunes
Mr. Dapperwit, a brisk conceited, half-witted fellow of the Town.
Christina, Valentines Mistress.
Lydia, Rangers Mistress.
My Lady Flippant, Grip's Sister, an affected Widow, in distress for a
Husband, though still declaiming against marriage.
Mrs. Martha, Gripe's Daughter.
Mrs. Joyner, a Match-maker, or precise City Bawd.
Mrs. Crossbite, an old cheating Jilt, and Bawd to her Daughter.
Miss Lucy, her Daughter.
The Scene London.
ACT II.
SCENE. I.
St. James's Park at night.
Enter Ranger, Vincent, Dapperwit.
Ran. Hang me if I am not pleas'd extreamly with this new fashioned
catterwouling, this midnight coursing in the Park.
Vin. A man may come after Supper with his three Bottles in his head,
reel
himself sober, without reproof from his Mother, Aunt, or grave relation.
Ran. May bring his bashful Wench, and not have her put out of
countenance by
the impudent honest women of the Town.
Dap. And a man of wit may have the better of the dumb shew, of well
trim'd
Vest, or fair Perruque; no man's now is whitest.
Ran. And now no woman's modest, or proud, for her blushes are hid,
and the
rubies on her lips are died, and all sleepy and glimmering eyes have lost
their attraction.
Vin. And now a man may carry a Bottle under his arm, instead of his
Hat, and
no observing spruce Fop will miss the Crevat that lies on ones shoulder,
or count the pimples on ones face.
Dap. And now the brisk reparty ruins the complaisant Cringe, or wise
Grimace, something 'twas, we men of virtue always lov'd the night.
Ran. O blessed season.
Vin. For good-Fellows.
Ran. For Lovers.
Dap. And for the Muses.
George Etherege,
The Man of Mode (1676)
Enter Harriet and Young Bellair, she pulling him.
Harriet. Come along!
........................
Young Bellair. By this time your mother is in a a fine taking.
Harriet. If your friend Mr. Dorimant were but here now, that she might
find me talking with him!
Young Bellair. She does not know him but dreads him, I hear, of all
mankind.
Harriet. She concludes if he does but speak to a woman, she’s undone—
is on her knees every day to pray heav’n defend me from him.
Young Bellair. You do not apprehend him so much as she does?
Harriet. I never saw anything in him that was frightful.
Young Bellair. On the contrary, have you not observed something
extreme delightful in his wit and person?
Harriet. He’s agreeable and pleasant, I must own, but he does so much
affect being so, he displeases me.
........................
Enter Dorimant and stares upon her....
Exeunt Young Bellair and Harriet.
Dorimant. ’Tis she! It must be she—that lovely hair, that easy shape,
those wanton eyes, and all those melting charms about her mouth
which Medley spoke of. I’ll follow the lottery and put in for a prize
with my friend Bellair.
Exit Dorimant, repeating:
“In love the victors from the vanquished fly;
They fly that wound, and they pursue that die.’’
Enter Young Bellair and Harriet; and after them Dorimant, standing
at a distance.
Young Bellair. Most people prefer High Park to this place.
Harriet. It has the better reputation, I confess; but I abominate the dull
diversions there—the formal bows, the affected smiles, the silly
bywords and amorous tweers in passing. Here one meets with a little
conversation now and then.
Young Bellair. These conversations have been fatal to some of your
sex, madam.
H arriet . It may be so. Because some who want temper have been
undone by gaming, must others who have it wholly deny themselves
the pleasure of play?
D orimant . [coming up gently and bowing to her] Trust me, it were
unreasonable, madam.
She starts and looks grave.
Harriet. Lord, who’s this?
Young Bellair. Dorimant.
Dorimant. Is this the woman your father would have you marry?
Young Bellair. It is.
Dorimant. Her name?
Young Bellair. Harriet.
Dorimant. [aside] I am not mistaken.—She’s handsome.
Young Bellair. Talk to her; her wit is better than her face. We were
wishing for you but now.
Dorimant. [to Harriet] Overcast with seriousness o’ the sudden? A
thousand smiles were shining in the face but now. I never saw so quick
a change of weather.
Harriet. [aside] I feel as great a change within, but he shall never know
it.
Dorimant. You were talking of play, madam. Pray, what may be your
stint?
H arriet . A little harmless discourse in public walks or at most an
appointment in a box, barefaced, at the playhouse. You are for masks
and private meetings, where women
engage for all they are worth, I hear.
Dorimant. I have been used to deep play,
but I can make one at small game when I
like my gamester well.
Harriet. And be so unconcerned you’ll ha’
no pleasure in’t.
Dorimant. Where there is a considerable
sum to be won, the hope of drawing
people in makes every trifle considerable.
Harriet. The sordidness of men’s natures, I
know, makes ’em willing to flatter and
comply with the rich, though they are
sure never to be the better for ’em.
D orimant . ’Tis in their power to do us
good, and we despair not but at some
time or other they may be willing.
H arriet . To men who have fared in this
town like you, ’t would be a great
mortification to live on hope. Could you
keep a Lent for a mistress?
D o r i m a n t . In expectation of a happy
Easter; and though time be very precious,
think forty days well lost to gain your
favour.
Harriet. Mr. Bellair! Let us walk, ’tis time
to leave him. Men grow dull when they
begin to be particular.
Dorimant. Y’are mistaken: flattery will not
ensue, though I know y’are greedy of the
praises of the whole Mall.
Harriet. You do me wrong.
Dorimant. I do not. As I followed you, I
observed how you were pleased when the
f o p s c r i e d “ S h e ’s h a n d s o m e , v e r y
handsome, by God she is!” and
whispered aloud your name—the
thousand several forms you put your face
into; then, to make yourself more
agreeable, how wantonly you played with
your head, flung back your locks, and
9
looked smilingly over your shoulder at ’em.
Harriet. I do not go begging men’s, as you do the ladies’ good liking,
with a sly softness in your looks and a gentle slowness in your bows as
you pass by ’em. As thus, sir. [Acts him.] Is not this like you?
Enter Lady Woodvill and Busy.
Young Bellair. Your mother, madam!
Pulls Harriet. She composes herself.
Lady Woodvill. Ah, my dear child Harriet!
Busy. [aside] Now is she so pleased with finding her again, she cannot
chide her.
Lady Woodvill. Come away!
Dorimant. ’Tis now but high Mall, madam—the most entertaining time
of all the evening.
Harriet. I would fain see that Dorimant, mother, you so cry out of for a
monster. He’s in the Mall, I hear.
Lady Woodvill. Come away, then! The plague is here, and you should
dread the infection.
Young Bellair. You may be misinformed of the gentleman.
Lady Woodvill. Oh, no! I hope you do not know him. He is the prince
of all the devils in the town—delights in nothing but in rapes and riots.
Dorimant. If you did but hear him speak, madam—
Lady Woodvill. Oh, he has a tongue, they say, would tempt the angels
to a second fall.
Enter Sir Fopling with his equipage, six footmen and a page.
Sir Fopling. Hey, Champagne, Norman, La Rose, La Fleur, La Tour, La
Verdure!—Dorimant!—
Lady Woodvill. Here, here he is among this rout! He names him!
Come away, Harriet, come away!
Exeunt Lady Woodvill, Harriet, Busy, and Young Bellair.
Dorimant. This fool’s coming has spoiled all: she’s gone. But she has
left a pleasing image of herself behind that wanders in my soul. It must
not settle there.
Source materials Page
William Shakespeare, Othello
Act 5
SCENE II.
A bedchamber in the castle: DESDEMONA in bed asleep;
a light burning.
Enter OTHELLO
OTHELLO It is the cause, it is the cause, my soul,-Let me not name it to you, you chaste stars!-It is the cause. Yet I'll not shed her blood;
Nor scar that whiter skin of hers than snow,
And smooth as monumental alabaster.
Yet she must die, else she'll betray more men.
Put out the light, and then put out the light:
If I quench thee, thou flaming minister,
I can again thy former light restore,
Should I repent me: but once put out thy light,
Thou cunning'st pattern of excelling nature,
I know not where is that Promethean heat
That can thy light relume.
....
She wakes.
DESDEMONA Who's there? Othello?
OTHELLO Ay. Desdemona.
DESDEMONA Will you come to bed, my lord?
OTHELLO Have you pray'd to-night, Desdemona?
DESDEMONA Ay, my lord.
OTHELLO If you bethink yourself of any crime
Unreconciled as yet to heaven and grace,
Solicit for it straight.
DESDEMONA Alas, my lord, what do you mean by that?
OTHELLO Well, do it, and be brief; I will walk by:
I would not kill thy unprepared spirit;
No; heaven forfend! I would not kill thy soul.
DESDEMONA Talk you of killing?
OTHELLO Ay, I do.
....
OTHELLO Peace, and be still!
DESDEMONA I will so. What's the matter?
OTHELLO That handkerchief which I so loved and gave
thee
Thou gavest to Cassio.
DESDEMONA No, by my life and soul!
Send for the man, and ask him.
...
OTHELLO　No, his mouth is stopp'd;
Honest Iago hath ta'en order for't.
....
DESDEMONA　Alas! he is betray'd and I undone.
OTHELLO Out, strumpet! weep'st thou for him to my face?
DESDEMONA O, banish me, my lord, but kill me not!
OTHELLO Down, strumpet!
DESDEMONA Kill me to-morrow: let me live to-night!
OTHELLO Nay, if you strive-DESDEMONA But half an hour!
第２場
デズデモーナが寝台に眠っている。オセローが明りを手にして
登場、内側から錠をおろす。
オセロー　訳（わけ）はそれだ、訳はそれなのだ、我が魂よ。
おれに、あらわにそれを言わせるな、清らかな星ども！そ
れが訳なのだ。あれに血を流させたくはない。どうして傷
がつけられよう、雪を欺くその肌の白さ、石より滑らかな
その肌に—だが、どうしてもお前は死なねばならぬのだ、
死ななければ、次々に男を陥（おとしい）れる。さあ、火
を消せ、そうしておいて、あれの命の火を消してやるのだ。
おお、この燃える焔なら、一度消しても、それを悔いれば、
また元の姿に返せもしよう。が、お前の命の火は一度消し
てしまえば、名工自然のふるった見事な鑿（のみ）の印は
跡形もなくなる。お前のうちに再び命の火を燃え上がらせ
ることができるプロメテウスの火がどこにあるのか、知ら
ないからだ。
目をさましたか。
デズデモーナ　そこにいるのは雄？　オセロー様？
オセロー　そうだ、デズデモーナ。
デズデモーナ　もうおやすみになりません？
オセロー　夜の祈りはすませたか、デズデモーナ？
デズデモーナ　ええ、もう。
オセロー　胸に手を当てて考えてみて、まだ神の許しを乞うて
いない罪に思い当たるのなら、今すぐそれを求めるがよい。
デズデモーナ　まあ、なぜそのようなことを？
オセロー　なんでもいい、そうしなさい、早くすませるのだ、
おれはこの辺を歩いている、心の備えの出来ていないもの
を殺したくはない、そういうことはしない—— 断じて！ ——
おれにはお前の、まだ心構えができていない魂まで殺す気
はない。
デズデモーナ　殺すとおっしゃる？
オセロー　そうだ、殺してやる。
……
オセロー　黙りなさい、静かに！
デズデモーナ　それなら、もう何も申しませぬ。御用をおっ
しゃって。
オセロー　あれほど大切にしていたハンカチーフを、おれはお
前に与えた、それをお前はキャシオーにやってしまった。
デズデモーナ　誓ってそのようなことは！あの人をお呼びに
なって、じかにお尋ねくださいまし。
……
オセロー　だめだ、奴の口はふさがれた。正直なイアーゴーが
手抜かり無くやったのだ。
デズデモーナ　なんということ！　彼は裏切られ、私は破滅さ
せられたのです。
オセロー　この売女め！ おれの前で奴のために泣いて見せる
のか？
デズデモーナ　ああ、どうか私を追放してください、でも、お
願いです、殺さないで！
オセロー 黙れ、売女！
デズデモーナ　待って、今夜だけでも！
オセロー 言うな、あがくと——
デズデモーナ　せめて半時間！
OTHELLO Being done, there is no pause.
DESDEMONA But while I say one prayer!
OTHELLO It is too late.
He stifles her
EMILIA [Within] My lord , my lord! what, ho! my lord,
my lord!
OTHELLO What noise is this? Not dead? not yet quite
dead?
I that am cruel am yet merciful;
I would not have thee linger in thy pain: So, so.
....
Enter EMILIA
What's the matter with thee now?
EMILIA O, my good lord, yonder's foul murders done!
....
DESDEMONA　A guiltless death I die.
EMILIA　O, who hath done this deed?
DESDEMONA　Nobody; I myself. Farewell
Commend me to my kind lord: O, farewell!
Dies
OTHELLO　Why, how should she be murder'd?
EMILIA　Alas, who knows?
10
オセロー　もうたくさんだ、待つことはない。
デズデモーナ　お願い、一言お祈りを言う間だけでも！
オセロー　もう遅い！ ( 絞め殺す )
エミリア ( 戸の外で ) 旦那様、旦那様！旦那様、旦那様！
オセロー あれはなんの音だ？ ——死ななかったのか、まだ死
んではいなかったのか？酷（むご）いおれの心にも慈悲心
はある、いつまでも苦しませたくはない。こうしてやる、
これでもか。
……
エミリアがはいって来る。
オセロー　一体どうしたというのだ、今頃？
エミリア　ああ、旦那様、今あちらで恐ろしい人殺しが！
……
デズデモーナ　無実の罪で死ぬのです。
エミリア　ああ、雄がこんなことを？
デズデモーナ　誰でもない、自分の手で。さようなら、旦那
様によろしく、ああ、さようなら！
( 死に絶える )
オセロー　おい、どうして殺されたのだ？
エミリア　それが誰に解りましょう。
Source materials Page
William Wycherley,
The Country Wife (1675)
Act III, ii.
The New Exchange
*********
Re-enter Mr. Pinchwife, Mistress Pinchwife in Man's Cloaths.
Enter Horner, Dorilant to them.
Hor. How now Pinchwife?
Mr. Pin. Your Servant.
Hor. What, I see a little time in the Country makes a Man turn wild and
unsociable, and only fit to converse with his Horses, Dogs, and his
Herds.
Mr. Pin. I have business, Sir, and must mind it; your business is pleasure,
therefore you and I must go different wayes.
Hor. Well, you may go on, but this pretty young Gentleman— [Takes
hold of Mrs. Pinchwife.
Shall stay with us, for I suppose their business is the same with ours,
pleasure.
Mr. Pin. 'Sdeath he knows her, she carries it so sillily, yet if he does not, I
shou'd be more silly to discover it first. [Aside.
*********
Enter Mistriss Pinchwife in Mans cloaths, running with her hat under
her arm, full of Oranges and dried fruit, Horner following.
Mrs. Pin. O dear Bud, look you here what I have got, see.
Mr. Pin. And what I have got here too, which you can't see. [Aside
rubbing his forehead.
Mrs. Pin.
[675] The fine Gentleman has given me better things yet.
Mr. Pin. Ha's he so? [Aside. [Out of breath and colour'd— I must hold
yet.
Hor. I have only given your little Brother an Orange, Sir.
Mr. Pin. Thank you, Sir. [To Horner. You have only squeez'd my
Orange, I suppose, and given it me again; yet I must have a Citypatience. [Aside. Come, come away— [To his Wife.
Mrs. Pin. Stay, till I have put up my fine things, Bud
Act V, iv
Lady Fidget For one may be dissembled, the other not. —(Aside.) But
my jealously can be no longer dissembled, and they are telling ripe.
—Come, here’s to our gallants in waiting, whom we must name, and
I’ll begin. This is my false rogue.
Claps him on the back.
Mrs. Squeamish How!
Horner. (aside) So, all will out now.
Mrs. Squeamish (aside to Horner. ) Did you not tell me, ’twas for my
sake only you reported yourself no man?
Mrs. Dainty Fidget (aside to Horner.) Oh, wretch ! Did you not swear
to me, ’twas for my love and honour you passed for that thing you do?
Horner. So, So.
Lady Fidget Come, speak, ladies; this is my false villain.
Mrs. Squeamish And mine too.
Mrs. Dainty Fidget And mine.
Horner. Well then, you are all three my false rogues too, and there’s an
end on’t.
Lady Fidget Well then, there’s no remedy; sister sharers, let us not fall
out, but have a care of our honour. Though we get no presents, no
jewels of him, we are savers of our honour, the jewel of most value
and use, which shines yet to the world unsuspected, though it be
counterfeit.
Horner. Nay, and is e’en as good as if it were true, provided the world
think so; for honour, like beauty now, only depends on the opinion of
others.
Lady Fidget Well, Harry Common, I hope you can be true to three.
Swear—but ’tis no purpose to require your oath, for you are as often
forsworn as you swear to new women.
Horner. Come, faith, madam, let us e’en pardon one another, for all the
difference I find betwixt we men and you women, we forswear
ourselves at the beginning of an amour, you as long as it lasts.
Thomas Otway
Venice Preserved
or A Plot Discovered
First performed at the Duke’s Theatre in 1682,
published in the same year
王政復古期はいわゆる風習喜劇 (comedy of manners) が一世
を風靡した時代であったが，その中で Thomas Otway (16521685) は，特異な悲劇作家として後生に名を残している。貧窮
のゆえにオックスフォードでの勉学を諦め，ロンドンにやって
きた彼は，当初俳優として舞台に立ったが，全く成功しなかった。
し か し， 劇 作 家 と し て は， 類 ま れ な 才 能 を 発 揮 し， 特 に こ の
Venice Preserved と The Orphan (1680) は，センセーショナル
なヒットとなったのである。しかし，運命はこの天才に優しく
はなかった。彼の不幸の原因は，第一に貧困にあったが，もう
一つ，当時の代表的女優であった Elizabeth Barry への片想いが
ある。女優が初めてイギリスの劇場に登場したこの時代に，そ
の卓越した演技力とカリスマ性で観客を惹きつけてやまなかっ
たこの名優は，若き天才の求愛に応えることがなかった。失意
の Otway は，貧困と病苦の中で，三十三歳の若さでこの世を去
った。しかし，Barry によって霊感を受け，彼女のために書かれ
た二つの悲劇は，その美しく透明な輝きを今に至るまで失って
いない。
Venice Preserved の背景になっているのは，当時世間を騒が
せた虚構の大陰謀事件 Popish Plot である。Titus Oates なる人
物の偽証によってでっち上げられたこの事件は，トーリーとウ
ィッグの両派の政治抗争に拍車をかけることになったのだが，
この芝居の生命は，そのような時事的な背景を完全に超越して
いることにある。筋立ての設定自体はきわめて conventional で
ある。父親の反対する結婚を強行した男女の悲劇。友に対する
信義と女への愛との間の葛藤。政治的暗殺の陰謀など，とりた
てて新味はない。しかし，表面から一歩踏み込んだレベルでは，
これまでの悲劇の概念を大きくはみ出す独創性に満ちている。
conventional であったものがいつの間にか，時代性を忘れさせ
る何ものかに変容して，読者あるいは観客は，あたかも現代劇
を読んで（観て）いるかのような錯覚にすら陥らせられる。そ
れは主要登場人物が，いずれも一見 conventional でありながら，
実はきわめて realistic な，結果として誠に convincing な存在と
なっているからである。作者自身の姿を色濃く反映する主人公
Jaffeir の世の中に対する不満と怒りは，宇宙的な広がりを示す。
また，深刻な悲劇の中にマゾヒストの元老院議員 Antonio を登
場させ，古今未曾有，抱腹絶倒の笑劇を挟んでいるが，不思議
なことに何の違和感もない。それは，喜劇も悲劇もともに包括
する巨大な不条理の感覚が全体を覆っているからなのである。
from Act I, Scene i
○ベニスの青年 Jaffeir は，元老院の有力者 Priuli の娘 Belvidera
と愛し合い，父親の反対を押し切って結婚する。しかし，名門
の出身であるにもかかわらず貧困に追われた彼は，Priuli に援助
を懇願するが，冷たく拒否される。一方，彼の親友の Pierre は，
元老院議員の Antonio が自分の恋人である高級娼婦の Aquilina
を囲い者にしていることに怨みを抱き，外国の陰謀家たちとベ
ニス共和国転覆の計画を進めていた。Priuli の冷淡な仕打ちに怒
りと絶望を感じている Jaffeir と出会った Pierre は，彼に陰謀に
加担するよう説得する。その後に Belvidera が登場し，絶望的な
状況に置かれた二人は変わらぬ愛を確認する。
Pierre. We have neither safety, unity, nor peace,
For the foundation’s lost of common good;
Justice is lame as well as blind amongst us;
The laws (corrupted to their ends that make ’em)
Serve but for instruments of some new tyranny,
That every day starts up t’enslave us deeper.
----------------------I passed this very moment by thy doors,
And found them guarded by a troop of villains;
The sons of public rapine were destroying;
They told me, by the sentene of the law,
They had commission to seize all thy fortune—
Nay, more, Priuli’s cruel hand hath signed it.
Here stood a ruffian with a horrid face
Lording it o’er a pile of massy plate
Tumbled into a heap for public sale.
There was another making villainous jests
At thy undoing. He had ta’en possession
Of all thy ancient, most domestic ornaments,
Rich hangings intermixed and wrought with gold;
The very bed which on thy wedding night
Received thee to the arms of Belvidera,
The scene of all thy joys, was violated
By the coarse hands of filthy dungeon villains,
And thrown amongst the common lumber.
Jaffeir. Now thanks, Heaven —
Pierre. Thank Heaven for what?
Jaffeir. That I’m not worth a ducat.
Pierre. Curse thy dull stars and the worse fate of Venice!
Where brothers, friends, and fathers, all are false;
Where there’s no trust, no truth; where innocence
Stoops under vile oppression, and vice lords it.
Hadst thou but seen, as I did, how at last
Thy beauteous Belvidera, like a wretch
That’s doomed to banishment, came weeping forth,
Shining through tears, like April suns in showers
That labor to o’ercome the cloud that loads ‘em;
Whilst two young virgins, on whose arms she leaned,
Kindly looked up, and at her grief grew sad,
As if they catched the sorrows that fell from her.
Even the lewd rabble that were gathered round
To see the sight, stood mute when they beheld her,
Governed their roaring throats, and grumbled pity.
I could have hugged the greasy rogues; they pleased me.
----------------------------Jaffeir.
Farewell.
Pieere
At twelve.
Jaffeir.
At any hour; my plagues
Will keep me waking.
Exit Pierre
Tell me why, good Heaven,
Thou madst me what I am, with all the spirit,
Aspiring thoughts, and elegant desires
That fill the happiest man? Ah! rather why
Didst thou not form me sordid as my fate,
Base-minded, dull, and fit to carry burdens?
Why have I sense to know the curse that’s on me?
Is this just dealing, Nature? — Belvidera!
Enter Belvidera [with Attendants]
Poor Belvidera!
Belvidera. Lead me, lead me, my virgins,
To that kind voice! — My lord, my love, my refuge!
Happy my eyes when they behold thy face;
11
My heavy heart will leave its doleful beating
At sight of thee, and bound with sprightful joys.
Oh, smile, as when our loves were in their spring,
And cheer my fainting soul!
——————————
Oh, I will love thee, even in madness love thee.
Though my distracted senses should forsake me,
I’d find some intervals when my poor heart
Should ’suage itself, and be let loose to thine.
Though the bare earth be all our resting-place,
Its roots our food, some clift our habitation,
I’ll make this arm a pillow for thy head;
And as thou sighing li’st, and swelled with sorrow,
Creep to thy bosom, pour the balm of love
Into thy soul, and kiss thee to thy rest;
Then praise our God, and watch thee till the morning.
from Act III, scene i
○ここに登場する元老院議員 Antonio の描写は，当時のウィッ
グ派の有力政治家 , Shaftesbury を風刺したものである。しかし，
この好色な老人のマゾヒストぶりは全く破天荒なもので，時事
的な風刺の意図などどこかに吹き飛んでしまう。自ら発する支
離滅裂な言葉の連射のリズムの中に没入し，やがてエクスタシ
ーに到達する Antonio の姿は，この芝居の不条理劇的性格を如
実に示すものである。この時代にこのような場面が描かれてい
ること自体が驚異であり，現代のイギリスにおける再演におい
て観客の大爆笑を誘ったというのも当然であろう。
Enter Aquilina and her Maid
Aquilina. Tell him I am gone to bed; tell him I am not at home; tell
him I’ve better company with me, or anything; tell him in short I
will not see him, the eternal troublesome, vexatious fool! He’s
worse company than an ignorant physician. I’ll not be disturbed
at these unseasonable hours!
Maid. But, madam, he’s here already, just entered the doors.
A quilina . Turn him out again, you unnecessary, useless, giddybrained ass! If he will not be gone, set the house afire and burn
us both. I’d rather meet a toad in my dish than that old hideous
animal in my chamber to-night.
Enter Antonio
Antonio. Nacky, Nacky, Nacky—how dost do, Nacky? Hurry durry.
I am come, little Nacky; past eleven a-clock, a late hour; time in
all conscience to go to bed, Nacky—Nacky, did I say? Aye,
Nacky; Aquilina, lina, lina, quilina, quilina, quilina, Aquilina,
Naquilina, Naquilina, Acky, Acky, Nacky, Nacky, queen
Nacky—come, let’s to bed—you fubbs, you pugg, you—you
little puss—purree tuzzey—I am a senator.
Aquilina. You are a fool, I am sure.
Antonio. May be so, too, sweetheart. Never the worse senator for all
that. Come Nacky, Nacky, let’s have a game at rump, Nacky.
A quilina . You would do well, signior, to be troublesome here no
longer, but leave me to myself, be sober, and go home, sir.
Antonio. Home, Madonna!
Aquilina. Aye, home, sir. who am I?
Antonio. Madonna, as I take it you are my—you are—thou art my
little Nicky Nacky—that’s all!
Aquilina. I find you are resolved to be troublesome; and so to make
short of the matter in few words, I hate you, detest you, loathe
you, I am weary of you, sick of you—hang you, you are an old,
silly, impertinent, impotent, solicitous coxcomb, crazy in your
h e a d a n d l a z y i n y o u r b o d y, l o v e t o b e m e d d l i n g w i t h
everything, and if you had not money, you are good for nothing.
A ntonio . Good for nothing! Hurry durry, I’ll try that presently.
Source materials Page
Sixty-one years old, and good for nothing; that’s brave! (To the
M aid ) —Come, come, come, Mistress Fiddle-faddle, turn you
out for a season. Go, turn out, I say, it is our will and pleasure to
be private some moments—out, out when you are bid to! (Puts
her out and locks the door)—Good for nothing, you say?
Aquilina. Why, what are you good for?
Antonio. In the first place, madam, I am old, and consequently very
wise, very wise, Madonna, d’e mark that? In the second place
take notice, if you please, that I am a senator, and when I think
fit can make speeches, Madonna. Hurry durry, I can make a
speech in the Senate-house now and then—would make your
hair stand on end, Madonna.
Aquilina. What care I for your speeches in the Senate-house? If you
would be silent here, I should thank you.
A n to n i o . Why, I can make speeches to thee, too, my lovely
Madonna; for example: My cruel fair one (Takes out a purse of
gold, and at every pause shakes it), since it is my fate that you
should with your servant angry prove; tho’ late at night—I
hope’tis not too late with this to gain reception for my love.—
There’s for thee, my little Nicky Nacky—take it, here take it—I
say take it, or I’ll throw it at your head. How now, rebel!
Aquilina. Truly, my illustrious senator, I must confess your honor is
at present most profoundly eloquent, indeed.
from Act IV, Scene ii
○一旦は政府転覆の陰謀に加担した Jaffeir であったが，自分の
忠誠の証として一味の首領 Renault に預けた Belvidera が，好色
な Renault に襲われそうになったことを知って怒る。彼から陰
謀について打ち明けられた Belvidera は元老院に訴え出るように
説得。Jaffeir は，謀反人達を死刑に処さないという約束を取り
付けた上で，元老院に密告する。逮捕された Pierre は，Jaffeir
を裏切り者として激しくなじる。ところが，謀反人達を一網打尽
にした元老院は，Jaffeir との約束を反故にして，全員を処刑す
ることを決定してしまう。友情と Belvidera への愛とに引き裂か
れた Jaffeir は，激情に駆られて Belvidera を殺そうとするのだ
が．．．
Jaffeir. No, Belvidera, when we parted last,
I gave this dagger with thee as in trust
To be thy portion if I e’er proved false.
On such condition was my truth believed;
But now ’tis forfeited and must be paid for.
(Offers to stab her again)
Belvidera. (Kneeling) Oh, mercy!
Jaffeir.
Nay, no struggling.
Belvidera. (Leaps upon his neck and kisses him)
Now then kill me!
While thus I cling about thy cruel neck,
Kiss thy revengeful lips and die in joys
Greater than any I can guess hereafter.
Jaffeir. I am, I am a coward. Witness’t, heaven,
Witness it, earth, and every being, witness!
’Tis but one blow; yet—by immortal love,
I cannot longer bear a thought to harm thee!
(He throws away the dagger and embraces her)
from Act V, Scene iii & iv
○娘の Belvidera の嘆願に心動かされた Priuli が処刑を止めよう
とするが時すでに遅かった。処刑台の上で Pierre と和解した
Jaffeir は，見苦しい死に方はしたくないという彼の頼みを受け
入れて，短剣で親友を刺し殺す。そして，自らも自刃して果てる。
ただ一人残された Belvidera は狂死。名女優 Elizabeth Barry を
念頭に書かれただけあって，最後の狂乱の場は，彼女の演技力が
最大限の効果をあげるように作られている。当時の劇場に詰めか
けていた放蕩者の宮廷人たちも，すれっからしの売春婦たちも，
等しく涙を絞らされたと言われる。しかし，現代の我々もまた，
Belvidera の置かれた絶対的孤独の中に，人間の置かれた普遍的
状況の表現を見ざるをえないであろう。
[Scene iv. A room in Priuli ’s house]
Soft music. Enter Belvidera distracted, led by two of her Women,,
Priuli, and Servants
Priuli. Strengthen her heart with patience, pitying heaven..... Belvidera. Come, come, come, come, come! Nay, come to bed,
Prithee, my love. The winds!—hark, how they whistle!
And the rain beats; oh, how the weather shrinks me!
You are angry now; who cares? pish, no indeed.
Choose then. I say you shall not go, you shall not!
Whip your ill nature; get you gone then!—
(Jaffier ’s Ghost rises)
Oh,
Are you returned? See, father, here he’s come again!
Am I to blame to love him? Oh, thou dear one. (Ghost sinks)
Why do you fly me? Are you angry still, then?
Jaffeir! where art thou?—Father, why do you thus?
Stand off, don’t hide him from me! He’s here somewhere
Stand off, I say!—What, gone? Remember’t, tyrant!
I may revenge myself for this trick one day.
I’ll do’t—I’ll do’t. Renault’s a nasty fellow.
Hang him, hang him, hang him!
Enter Officer and others. Officer whispers Priuli
Priuli. News—what news?
Officer.
Most sad, sir.
Jaffeir, upon the scaffold, to prevent
A shameful death, stabbed Pierre, and next himself.
Both fell together.
Priuli.
—Daughter—
(The Ghosts of Jaffeir and Pierre rise together, both bloody)
Belvidera. Hah, look there!
My husband bloody, and his friend, tool—Murder!
Who has done this? Speak to me, thou sad vision;
On these poor trembling knees I beg it. (Ghosts sink)
Vanished—
Here they went down. Oh, I’ll dig, dig the den up.
You shan’t delude me thus.—Hoa, Jaffeir, Jaffeir!
Peep up and give me but a look.—I have him!
I’ve got him, father; oh, now how I’ll smuggle him!
My love! my dear! my blessing! help me, help me!
They have hold on me, and drag me to the bottom!
Nay—now they pull so hard—farewell— (She dies)
女性観客の増加と演劇の変容
William Wycherley,
The Country Wife (1675)
EPILOGUE
Now you the Vigorous, who dayly here
O’re Vizard-Mask, in publick domineer,
And what you’d doe to her if in Place where;
Nay have the confidence, to cry come out,
Yet when she says lead on, you are not stout;
But to your well-drest Brother straight turn round
And cry, Pox on her Ned, she can’t be sound:
spoken by Mrs Knepp
Then slink away, a fresh one to ingage,
With so much seeming heat and loving Rage,
You’d frighten listning Actress on the Stage:
Till she at last has seen you huffing come,
And talk of keeping in the Tyreing-Room,
Yet cannot be provok’d to lead her home:
［男性観客の一人を指さして］ちょいと、そこの元気なお兄さん、
あんた、毎日ここに来て、みんなの前でマスクの女［売春婦］に
虚勢を張って、しかるべき場所でいいことしようやって、ほら吹
いてるわよね。そして、自信たっぷりに「出ようぜ」っていうく
せして、女が「じゃ連れてってよ」って答えると、とたんに腰く
だけになっちゃうじゃない。すぐにそこの［別な客を指さし］身
なりのいいお仲間の方を振り向いて、
「あの女はだめだぜ、ネッド、
性病持ちに違いないさ」ってうそぶいて、こそこそ逃げだしては、
また別な女に話をもちかけるのよね。それから、おんなじように、
熱烈に舞台の女優に声をかけて、その子をこわがらせた上に、後
で威張り散らしながら楽屋に来て、「おれの囲い者にならないか」
なんていうくせして、いざとなったら、女優を家に連れ帰るだけ
の根性なんてないじゃないのさ。
***
You by experience know you can deceive,
And men may still believe you Vigorous,
But then we Women,—there’s no cous’ning us.
あんたたちねえ、これまでの経験で、世間の男たちなどだませるさ、
おれが元気者だって思わせておける、なんてつもりかもしれない
けれど、あたしたち女はごまかせやしないのよ。
George Farquhar, The Recruiting Officer
Prologue
If for one Helen such prodigious things
Were acted, that they even listed kings;
If for one Helen’s artful, vicious charms,
Half the transported world was found in arms;
What for so many Helens may we dare,
Whose minds, as well as faces, are so fair?
If, by one Helen’s eyes, old Greece could find
Its Homer fired to write -- even Homer blind,
The Britons sure beyond compare may write,
That view so many Helens every night.
たった一人のヘレンのために、諸国の王たちもいくさに赴くほど
の偉業がなされたでありました。たった一人のヘレンの、手管に
満ちた、邪悪な魅力のために、世界の半分が武器を取ったのであ
りました。だとすれば、これほど多くのヘレンたちのために、か
んばせのみならずお心もまた、これほど美しき女性たちのために、
わたしどもがなさぬことなどありましょうか？　一人のヘレンの
眼差しのゆえに、いにしえのギリシャに、大詩人ホメロスが、し
かも盲（めしい）のホメロスが、現れて、筆をとったのだとすれば、
毎夜これほど多くのヘレンたちを目にするわがブリトンの詩人た
ちは、必ずや比類無き筆を振るうことでありましょう。
Nathaniel Lee, Lucius Junius Brutus (1681)
PROLOGUE TO BRUTUS
Written by Mr. Duke
But O! You leading voters of the pit,
That infect others with your too much wit,
That well-affected members do seduce,
And with your malice poison half the house,
Know your ill-managed, arbitrary sway
Shall be no more endured but ends this day.
Rulers of abler conduct we will choose,
And more indulgent to a trembling muse;
Women for ends of government more fit,
Women shall rule the boxes and the pit,
Give laws to love and influence to wit.
しかし、おお、おまえたち［平土間席の口うるさい男性客たち］、
12
過剰なウィットに他のお客様方を感染せしめ、善意の人々を誘惑
し、おまえたちの悪意でもって、この芝居小屋の半分を毒してし
まうおまえたちよ。思い知るがいい、おまえたちの不作法で好き
勝手な支配は、もう許されないのだ、今日をもって終わるのだと
いうことを。もっと能力のある支配者たちをわれわれは選ぼう。
ふるえおののく詩神に、もっと寛容な者たちを。
女性たちこそ、統治の目的によりかなう者たちなのだ、女性たち
にこそ、ボックス席も平土間席も支配していただこう。女性たち
は愛に規律を、ウィットに影響力を与えてくれるのだから。
Sir John Vanbrugh and Colley Cibber
The Provoked Husband (1726)
PROLOGUE
Spoken by Mr. Wilks
This play took birth from principles of truth,
To make amends for errors past, of youth.
A bard, that’s now no more, in riper days
Conscious reviewed the license of his plays;
And though applause his wanton muse had fired,
Himself condemned what sensual minds admired.
At length he owned, that plays should let you see
Not only what you are, but ought to be:
Though vice was natural, ’twas never meant
The stage should show it, but for punishment.
Warm with that thought, his Muse once more took flame,
Resolved to bring licentious life to shame.
この芝居は、過去の、若き日の過ちを償うために、真実の原理か
ら生まれたのでございます。元の作者 (Vanbrugh) はすでに亡き
人となりましたが、年老いてから、自分の芝居が奔放であったこ
とを顧みて、良心がうずいたのでありました。自分の淫らな空想
が喝采を浴びたにもかかわらず、好色な者どもが賞賛したことを、
自らは非難したのでございます。ついに、彼は、こう主張したの
でした。芝居というものは、ありのままの自分の姿のみならず、
あるべき姿をも示すべきなのだ、と。悪徳が生来のものだとしても、
舞台がそれを呈示するのは、それを罰するためにこそなのだ。こ
のような思いに突き動かされて、彼の詩神は再び燃え上がり、淫
らな生き方を恥じ入られてや d ろうと決意したのでありました。
3-4 A bard . . . plays] i.e., the mature Vanbrugh was conscience- stricken and guilty
(conscious) as he looked over the licentious plays he had written as a young man.
Cibber probably has in mind Vanbrugh’s revision (in 1725) of two scenes in The
Provoked Wife (see Apology, pp. 308-309, and Provoked Wife, ed. Zimansky, Appendix
B).
Richard Steele(1672-1729),
The Conscious Lovers (1722)
Prologue 3
By Mr. Welsted
Spoken by Mr. Wilks
No more let ribaldry, with license writ,
Usurp the name of eloquence or wit;
No more let lawless farce uncensured go,
5
The lewd dull gleanings of a Smithfield show.
‘Tis yours with breeding to refine the age,
To chasten wit, and moralize the stage.
Ye modest, wise and good, ye fair, ye brave,
Tonight the champion of your virtues save,
Redeem from long contempt the comic name,
And judge politely for your country’s fame.
卑猥さが勝手きままに筆をふるい、
雄弁やウイットという名を横領することは、
もはや許されませぬ。
スミス・フィールドの見せ物［バーソロミューの市］の
淫らでつまらぬ落ち穂を集めただけの、
Source materials Page
無軌道なファルスに非難を与えずにはおきませぬ。
たしなみによって時代を洗練し、ウイットを清め、
舞台を道徳の場とすることこそが、
皆様方のお役目なのでありますぞ
Nicholas Rowe
Jane Shore
[1714]
EPILOGUE; spoken by Mrs. Oldfield.
****
If the reforming Stage shou'd fall to shaming
Ill-nature, Pride, Hypocrisy, and Gaming;
The Poets frequently might move Compassion,
And with She Tragedies o'er-run the Nation.
****
For Her Excuse too, be, it understood,
That if the Woman was not quite so good,
Her Lover was a King, she Flesh and Blood.
And since she has dearly paid the sinful Score,
Be kind at last, and pity poor Jane Shore.
Dramatis Personæ.
Alicia. Jane Shore. Fare thee well--[Kissing her.
Now execute your Tyrant's Will, and lead me
To Bonds or Death, 'tis equally indifferent.[Exeunt.
Nicholas Rowe
The Fair Penitent (1703)
Dramatis Personæ.
Nicholas Rowe 1674-1718
Duke of Gloster. Lord Hastings. Bellmour. Dumont [Shore]. [To the Guards, taking him away.
MEN.
Mr. Cibber.
Mr. Booth.
Mr. Mills.
Mr. Wilks.
WOMEN.
Mrs. Porter.
Mrs. Oldfield.
ACT V
Enter Jane Shore, her Hair hanging loose on her Shoulders, and barefooted.
J. Sh. Yet, yet endure, nor murmur, Oh! my Soul!
For are not thy Transgressions great and numberless?
Do they not cover thee, like rising Floods,
And press thee like a Weight of Waters down?
Does not the Hand of Righteousness afflict thee;
And who shall plead against it? Who shall say
To Pow'r Almighty, Thou hast done enough:
Or bid his dreadful Rod of Veng'ance, stay?
Wait then with Patience, till the circling Hours
Shall bring the Time of thy appointed Rest,
And lay thee down in Death.
***
J. Sh. Forgive me!---but forgive me!
Sh. Be Witness for me, ye Celestial Host,
Such Mercy and such Pardon as my Soul
Accords to thee, and begs of Heav'n to shew thee;
May such befal me at my latest Hour,
And make my Portion blest or curst for ever.
J. Sh. Then all is well, and I shall sleep in Peace--'Tis very dark, and I have lost you now--Was there not something I would have bequeath'd you?
But I have nothing left me to bestow,
Nothing but one sad Sigh. Oh Mercy Heav'n!
[Dies.
Bell. There fled the Soul,
And left her Load of Misery behind.
Sh. Oh my Heart's Treasure! Is this pale sad Visage
All that remains of thee? Are these dead Eyes
The Light that cheer my Soul? Oh heavy Hour!
But I will fix my trembling Lips to thine,
Till I am cold and senseless quite, as thou art.
What, must we part then?---will you---
MEN.
Mr. Bowman.
Sciolto, a Nobleman of Genoa, Father to Calista
Altamont, a young Lord, in Love with Calista, and design'd her
Mr. Verbruggen.
Husband by Sciolto.
Mr. Betterton.
Horatio, his Friend. Mr. Powell.
Lothario, a young Lord, Enemy to Altamont.
Mr. Baily.
Rossano, his Friend. WOMEN.
Calista, Daughter to Sciolto. Mrs. Barry.
M
rs. Bracegirdle..
Lavinia, Sister to Altamont, and Wife to Horatio.
ACT III
Cal. How hard is the Condition of our Sex,
Thro' ev'ry State of Life the Slaves of Man?
In all the dear delightful Days of Youth,
A rigid Father dictates to our Wills,
And deals out Pleasure with a scanty Hand;
To his, the Tyrant Husband's Reign succeeds
Proud with Opinion of superior Reason,
He holds Domestick Bus'ness and Devotion
All we are capable to know, and shuts us,
Like Cloyster'd Ideots, from the World's Acquaintance,
And all the Joys of Freedom; wherefore are we
Born with high Souls, but to assert our selves,
Shake off this vile Obedience they exact,
And claim an equal Empire o'er the World?
ACT V.
SCENE I.
SCENE is a Room hung with Black; on one side, Lothario's Body on a
Bier; on the other, a Table with a Skull and other Bones, a Book, and
a Lamp on it.
Calista is discover'd on a Couch in Black, her Hair hanging loose and
disordered: After Musick and a Song, she rises and comes
forward.
Cal. 'Tis well! these Solemn Sounds, this Pomp of Horror,
Are fit to feed the Frenzy in my Soul,
Here's room for Meditation, ev'n to Madness,
'Till the Mind burst with Thinking; this dull Flame
Sleeps in the Socket; sure the Book was left
To tell me something;---for Instruction then--[25] He teaches holy Sorrow, and Contrition,
And Penitence;---Is it become an Art then?
A Trick that lazy, dull, luxurious Gown-men
Can teach us to do over; I'll no more on't;
[Throwing away the Book.
Sir John Vanbrugh (1664-1726)
THE RELAPSE;
OR, Virtue in Danger:Being the Sequel of
The Fool in Fashion
[Colley Cibber, Love’s Last Shift],
A COMEDY. ACTED AT The Theatre-Royal in Drury-lane;
Dramatis Personæ.
Men.
Sir Novelty Fashion, newly Created Lord Foppington.
Mr. Cibber.
Young Fashion his Brother. Mr. Kent.
Loveless, Husband to Amanda.
Mr. Verbruggen.
Worthy, a Gentleman of the Town.
Mr. Powell.
****
Women.
Amanda, Wife to Loveless. Mrs. Rogers.
Mrs. Verbruggen.
Berrinthia, her Cousin, a young Widow. Miss Hoyden, a great Fortune, Daughter to Sir Tunbelly Mrs. Cross.
ACT I. Scene I.
Enter Lovelace reading.
How true is that Philosophy, which says,
Our Heaven is seated in our Minds?
Through all the Roving Pleasures of my Youth,
(Where Nights and Days seem’d all consum’d in Joy,
Where the false Face of Luxury
Display’d such Charms,
As might have shaken the most holy Hermit,
And made him totter at his Altar;)
I never knew one Moment’s Peace like this.
Here—-in this little soft Retreat,
My Thoughts unbent from all the Cares of Life,
Content with Fortune,
Eas’d from the grating Duties of Dependance,
From Envy free, Ambition under foot,
The raging Flame of wild destructive Lust
Reduc’d to a warm pleasing Fire of lawful Love,
My Life glides on, and all is well within.
Enter Amanda. Lov. meeting her kindly.
******
Am. My Apprehensions shou’d allarm your Courage.
Lo. Fy, Fy, Amanda, it is not kind thus to distrust me.
Am. And yet my Fears are founded on my Love.
****
Lo. Nor shall they trouble you much longer,
A little time shall shew you they were groundless
This Winter shall be the Fiery-Tryal of my Virtue;
Which when it once has past,
You’ll be convinc’d, ’twas of no false Allay,
There all your Cares will end.—Am.—-Pray Heaven they may.
Exeunt Hand in Hand.
George Farquhar (1678-1707)
The Recruiting Officer (1706)
DRAMATIS PERSONAE
Men
Mr Keen
MR BALANCE
**
MR WORTHY, a gentleman of Shropshire
CAPTAIN PLUME, a recruiting officer
CAPTAIN BRAZEN, a recruiting officer
***
Mr Bullock
BULLOCK, a country clown
COSTAR PEARMAIN, a recruit Mr Norris
THOMAS APPLETREE, a recruit
Mr Fairbank
Mr Williams
Mr Wilks
Mr Cibber
Women
Mrs Rogers
MELINDA, a lady of fortune
SILVIA, daughter to Balance, in love with Plume Mrs Oldfield
Act IV, Scene i
The Walk by the Severn side
[Enter] ROSE and BULLOCK meeting
******
Enter SILVIA
Silvia Had I but a commission in my pocket I fancy my breeches would
become me as well as any ranting fellow of ’em all; for I take a bold
13
step, a rakish toss, a smart cock, and an impudent air to be the
principal ingredients in the composition of a captain. – What’s here?
Rose, my nurse’s daughter. I’ll go and practise. – Come, child, kiss
me at once. (Kisses R ose ) And her brother too! – Well, honest
Dungfork, do you know the difference between a horse cart and a cart
horse, eh?
Bullock I presume that your worship is a captain by your clothes and
your courage.
Silvia Suppose I were, would you be contented to list, friend?
Rose No, no, though your worship be a handsome man, there be others
as fine as you; my brother is engaged to Captain Plume.
Silvia Plume! Do you know Captain Plume?
Rose Yes, I do, and he knows me. —He took the very ribbands out of his
shirtsleeves and put ’em into my shoes — see there — I can assure
you that I can do anything with the captain.
Bullock That is, in a modest way, sir. — Have a care what you say,
Ruose, don’t shame your parentage.
Rose Nay, for that matter I am not so simple as to say that I can do
anything with the captain, but what I may do with any­body else.
Silvia So! And pray what do you expect from this captain, child?
Rose I expect, sir! I expect – but he ordered me to tell nobody – but
suppose that he should promise to marry me?
Silvia You should have a care, my dear, men will promise any­thing
beforehand.
Rose I know that, but he promised to marry me afterwards.
Bullock Wauns, Ruose, what have you said?
Silvia Afterwards! After what?
Rose After I had sold him my chickens. – I hope there’s no harm in that.
Enter Plume
Plume What, Mr Wilful, so close with my market-woman!
Silvia (Aside) I’ll try if he loves her. – Close, sir! aye, and closer yet, sir.
— Come, my pretty maid, you and I will withdraw a little.
Plume No, no, friend, I han’t done with her yet.
Silvia Nor have I begun with her, so I have as good a right as you have.
Plume Thou art a bloody impudent fellow.
****
Silvia Captain Plume, I despise your listing-money; if I do serve, ’tis
purely for love – of that wench I mean. For you must know, that
among my other sallies, I have spent the best part of my fortune in
search of a maid, and could never find one hitherto; so you may be
assured I’d not sell my freedom under a less purchase than I did my
estate. – So before I list I must be certified that this girl is a virgin.
Plume Mr Wilful, I can’t tell how you can be certified in that point, till
you try, but upon my honour she may be a vestal for aught that I
know to the contrary. – I gained her heart indeed by some trifling
presents and promises, and knowing that the best security for a
woman’s soul is her body, I would have made myself master of that
too, had not the jealousy of my impertinent landlady interposed.
Silvia So you only want an opportunity for accomplishing your designs
upon her?
Plume Not at all, I have already gained my ends, which were only the
drawing in one or two of her followers. The women, you know, are
the loadstones everywhere: gain the wives and you’re caressed by the
husbands; please the mistresses and you are valued by their gallants;
secure an interest with the finest women at court and you procure the
favour of the greatest men; so, kiss the prettiest country wenches and
you are sure of listing the lustiest fellows. ***
Silvia **** – And now your hand, – this lists me – and now you are my
captain.
Plume Your friend. (Kisses her) ’Sdeath ! There’s something in this
fellow that charms me. *** What you please as to that. – Will you
lodge at my quarters in the meantime? You shall have part of my bed.
Silvia Oh, fie, lie with a common soldier! – Would not you rather lie
with a common woman?
Plume No, faith, I’m not that rake that the world imagines; I have got an
air of freedom which people mistake for lewdness in me, as they
mistake formality in others for religion; the world is all a cheat, only
I take mine which is undesigned to be more excusable than theirs,
which is hypocritical; I hurt nobody but myself, and they abuse all
mankind. – Will you lie with me?

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