Act 5 — THE FAWN.
Reading edition
Parasitaster, Or The Fawne, As It Hath Bene Divers times presented at the blacke Friars, by the Children of the Queenes Maiesties Reuels. Written by Iohn Marston. At London Printed by T. P. for W. C. 1606. 4to.
Parasitaster, Or The Fawne, As It Hath Bene Divers Times Presented at the blacke Friars, by the Children of the Queenes Maiesties Reuels, and since at Powles. Written by Iohn Marston. And now corrected of many faults, which by reason of the Author’s absence, were let slip in the first edition. At London Printed by T. P. for W. C. 1606. 4to.
STORY OF THE PLAY.
Hercules, the widowed Duke of Ferrara, is anxious that his son Tiberio should marry Dulcimel, daughter of Gonzago, Duke of Urbin; but, finding that he cannot persuade his son to marriage, he declares that he will himself marry Dulcimel. Tiberio is sent to the Court of Urbin to negotiate on his father’s behalf. Hercules follows in disguise to watch the issue, and attaches himself (under the name of Faunus) to Tiberio’s train at Urbin, where by adroit flattery he quickly gains the favour of Gonzago and the confidence of the courtiers. Dulcimel falls in love with Tiberio, and determines to make him her husband. She imposes on her father, Gonzago, a weak-minded lord with a boundless belief in his own wisdom, by a pretended discovery of Tiberio’s love to her; and Gonzago, acting throughout under the impression that he is foiling Tiberio, becomes in the hands of his witty daughter the instrument by which her project is accomplished. Taxed by Gonzago with having made love to Dulcimel, Tiberio warmly denies the charge, but at length he perceives that the lady is making amorous advances, and his blood is fired. In the courtyard of the palace grew a plane-tree by which it was possible to ascend to the window of Dulcimel’s bedchamber. Dulcimel informs her father that Tiberio intended to climb the plane-tree at night and enter her chamber, and that he had asked her to have a priest to be in readiness to conduct the marriage service. Gonzago upbraids Tiberio with his perfidy, and commands him to leave the court before the next morning. Tiberio asks for an explanation, and Gonzago then repeats what his daughter had said. Tiberio is not slow to avail himself of Dulcimel’s invitation; he mounts the plane-tree, the priest is ready, and the marriage is consummated. Gonzago’s chagrin is changed to satisfaction when Hercules, putting off his disguise, expresses his approval of the match.
Much of the play is devoted to an exposure of the faults and follies of Gonzago’s courtiers. At the close of the fifth act there is holden a court of Cupid, at which the delinquents are arraigned.
TO THE EQUAL READER.
I have ever more endeavoured to know myself, than to be known of others; and rather to be unpartially beloved of all, than factiously to be admired of a few; yet so powerfully have I been enticed with the delights of poetry, and (I must ingeniously[115] confess) above better desert so fortunate in the stage-pleasings, that (let my resolutions be never so fixed to call mine eyes into myself) I much fear that most lamentable death of him,
“Qui nimis notus omnibus, Ignotus moritur sibi.”—Seneca.[116]
But since the over-vehement pursuit of these delights hath been the sickness of my youth, and now is grown to be the vice of my firmer age—since to satisfy others, I neglect myself—let it be the courtesy of my peruser rather to pity my self-hindering labours than to malice[117] me; and let him be pleased to be my reader, and not my interpreter, since I would fain reserve that office in my own hands, it being my daily prayer:—“Absit[118] a jocorum nostrorum simplicitate malignus interpres.”—Martial.
If any shall wonder why I print a comedy, whose life rests much in the actor’s voice, let such know that it cannot avoid publishing; let it therefore stand with good excuse that I have been my own setter out.
If any desire to understand the scope of my comedy, know it hath the same limits which Juvenal gives to his Satires:—
“Quicquid agunt homines, votum, timor, ira, voluptas, Gaudia, discursus, nostri farrago libelli est.”—Juvenal.
As for the factious malice and studied detractions of some few that tread in the same path with me, let all know I most easily neglect them, and (carelessly slumbering to their vicious endeavours) smile heartily at their self-hurting baseness. My bosom friend, good Epictetus, makes me easily to contemn all such men’s malice: since other men’s tongues are not within my teeth, why should I hope to govern them? For mine own interest for once, let this be printed,—that of men of my own addiction I love most, pity some, hate none; for let me truly say it, I once only loved myself, for loving them, and surely I shall ever rest so constant to my first affection, that let their ungentle combinings, discourteous whisperings, never so treacherously labour to undermine my unfenced reputation, I shall (as long as I have being) love the least of their graces, and only pity the greatest of their vices.
And now, to kill envy, know you, that affect to be the only minions of Phœbus, I am not so blushlessly ambitious as to hope to gain any the least supreme eminency among you; I affect not only the “‘Euge’ tuum et ‘Belle!’”[119]—’tis not my fashion to think no writer virtuously confident that is not swellingly impudent; nor do I labour to be held the only spirit whose poems may be thought worthy to be kept in cedar[120] chests:—
“Heliconidasque pallidamque Pyrenen Illis relinquo quorum imagines lambunt Hederæ sequaces....”—Persius.
He that pursues fame shall, for me, without any rival, have breath enough. I esteem felicity to be a more solid contentment; only let it be lawful for me, with unaffected modesty and full thought, to end boldly with that of Persius:—
“Ipse semipaganus Ad sacra vatum carmen affero nostrum.”—Persius.
JO. MARSTON.
TO THE READER.[121]
Reader, know I have perused this copy, to make some satisfaction for the first faulty impression; yet so urgent hath been my business that some errors have still passed, which thy discretion may amend. Comedies are writ to be spoken, not read; remember the life of these things consists in action; and for such courteous survey of my pen, I will present a tragedy[122] to you, which shall boldly abide the most curious perusal.
PROLOGUS.
Let those once know that here with malice lurk, ’Tis base to be too wise in others’ work; The rest sit thus saluted:— Spectators, know you may, with freest faces, Behold this scene; for here no rude disgraces Shall taint a public or a private name; This pen at viler rate doth value fame, Than at the price of others’ infamy To purchase it. Let others dare the rope, Your modest pleasure is our author’s scope. 10 The hurdle and the rack to them he leaves That have naught left to be accompted any, But by not being; nor doth he hope to win Your louder hand with that most common sin Of vulgar pens, rank bawdry, that smells Even through your masks, usque ad nauseam. The Venus of this scene doth loathe to wear So vile, so common, so immodest clothings; But if the nimble form of comedy, Mere spectacle of life and public manners, 20 May gracefully arrive to your pleased ears, We boldly dare the utmost death of fears; For we do know that this most fair-fill’d room Is loaden with most attic judgments, ablest spirits, Than whom there are none more exact, full, strong, Yet none more soft, benign in censuring. I know there’s not one ass in all this presence— Not one calumnious rascal, or base villain Of emptiest merit—that would tax and slander, If innocency herself should write, not one we know’t. 30 O you are all the very breath of Phœbus; In your pleas’d gracings all the true lifeblood Of our poor author lives,—you are his very grace. Now if that any wonder why he’s drawn To such base soothings, know his play’s—The Fawn.[123]
DRAMATIS PERSONÆ.
Hercules, Duke of Ferrara, disguised as Faunus. Gonzago, Duke of Urbin, a weak lord of a self-admiring wisdom. Tiberio, son to Hercules. Granuffo, a silent lord. Don Zuccone, a causelessly jealous lord. Sir Amoroso Debile-Dosso, a sickly knight. Herod Frappatore, brother to Sir Amoroso. Nymphadoro, a young courtier and a common lover. Dondolo, a bald fool. Renaldo, brother to Hercules.
Dulcimel, daughter to Gonzago. Philocalia, an honourable learned lady, companion to the Princess Dulcimel. Donna Zoya, a virtuous, fair, witty lady, wife to Don Zuccone. Donna Garbetza, wife to Sir Amoroso. Poveia, and Donnetta, two ladies, attendants on Dulcimel. Puttotta, a poor laundress of the court that washeth and diets footmen. Pages.
Scene—Urbin.