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And let those hags be led as captives, bound
masquers time of descending.
By this time, imagine the masquers descended; and again mounted into three triumphant chariots, ready to come forth. The first four were drawn with eagles, (whereof I gave the reason, as of the rest, in Fame's speech) their four torch-bearers attending on the chariot's sides, and four of the hags bound before them. Then followed the second, drawn by griffons, with their torch-bearers, and four other hags. Then the last, which was drawn by lions, and more eminent, (wherein her Majesty was,) and had six torch-bearers more, peculiar to her, with the like number of hags. After which, a full triumphant music, singing this song, while they rode in state about the stage :
Help, help, all tongues, to celebrate this wonder:
Where never dies the sound;
Her feet do strike the ground.
Here they lighted from their chariots, and danced forth their first dance : then a second, immediately following it : both right curious, and full of subtle and excellent changes, and seemed performed with no less spirits, than of those they personated. The first was to the cornets, the second to the violins. After which, they took out the men, and danced the measures; entertaining the time, almost to the space of an hour, with singular variety: when, to give them rest, from the music which attended the chariots, by that most excellent tenor voice, and exact singer (her Majesty's servant, master Jo. Allin) this ditty was sung:
When all the ages of the earth
A queen, in whom all they do live! After it, succeeded their third dance; than which, a more numerous composition could not be seen : graphically disposed into letters, and honouring the name of the most sweet and ingenious prince, CHARLES duke of YORK. Wherein, beside that principal grace of perspicuity, the motions were so even and apt, and their expression so just, as if mathematicians had lost proportion, they might there have found it. The author was master Thomas Giles. After this, they danced galliards and corrantos. And then their last dance, no less elegant in the place than the rest, with which they took their chariots again, and triumphing about the stage, had their return to the House of Fame celebrated with this last SONG; whose notes (as the former) were the work and honour of my excellent friend, Alfonso Ferrabosco.
Who, Virtue, can thy power forget,
And who yet imitate
You can, it soon decays;
To conclude which, I know no worthier way of epilogue, than the celebration of who were the celebraters.
The QUEEN'S MAJESTY. The Co. of MONTGOMERY.
The Visc. of CRANBORNE.3
The La. Eliz. GUILFORD. The Co. of HUNTINGDON.1 The La. Anne WINTER. The Co. of BEDFORD.
The La. WINDSOR. The Co. of Essex.2
The La. ANNE CLIFFORD.
1 The Countess of Huntingdon.] This high-born lady (wife of Henry Hastings, fifth earl of Huntingdon) was Elizabeth, the daughter of Ferdinando Stanley, earl of Derby, by the lady who immediately precedes her in the list.
2 The Countess of Essex.] This beautiful young creature (for she was not yet seventeen) was the unfortunate and guilty wife of Robert Devereux, earl of Essex, whose nuptials were celebrated with such splendor at Whitehall, and for whom Jonson composed the Masque of Hymen. She was the sister of the viscountess Cranborne mentioned below, and was, at this time, the pride and boast of the English court. Wilson blames her father for keeping her there during the absence of her husband, and hints, that she was too much admired by Prince Henry. At this period, however, nothing had happened to tarnish her name.
3 The Viscountess of Cranborne. Lady Catharine Howard, youngest daughter of Thomas earl of Suffolk, and recently married to William viscount Cranborne, son of that great statesman Robert Cecil, first earl of Salisbury. For the remaining names, see the preceding Masques.