Then, then, * * * music sound, and teach our feet, ▲ Then, then, angry music sound.] This epithet is not very commonly applied to music: the poet seems to have used it instead of loud. WHAL. It is unquestionably a misprint, (which I am unable to set right,) and is one of the very few errors in this excellent old copy. LOVE RESTORED.] From the folio, 1616. This is a sprightly little piece, and Robin Goodfellow's account of the petty tricks used by the inferior orders to procure a sight of these exhibitions, and the conduct of the menial officers of the court, is as interesting as it is amusing, from its being a lively picture of real occurrences. We learn from many of our old dramas, that considerable bustle and confusion took place at Whitehall, whenever a Masque was presented, and that previously to the entrance of the court, the doors were in a manner besieged by crowds of citizens and others clamorously advancing their respective pretensions to the honour of admission. It is said by the Puritans, and probably with some approach to truth, that the galleries were used, on these occasions, as places of assignation, and that the citizens' wives were invited to the Masques, &c., by the younger courtiers for the purposes of gallantry. "There is not a lobby nor chamber, if it could speak, (says sir Edward Peyton,) but would verify this." This was, however, after the queen's death, and when the decorum of the court was less strictly maintained. LOVE RESTORED. The King and Court being seated, and in expectation, Enter MASQUERADO. WOULD I could make them a show myself! In troth, ladies, I pity you all. You are in expectation of a device to-night, and I am afraid you can do little else but expect it. Though I dare not shew my face, I can speak truth under a vizard. Good faith, an't please your majesty, your Masquers are all at a stand; I cannot think your majesty will see any show to-night, at least worth your patience. Some two hours since, we were in that forwardness, our dances learned, our masquing attire on and attired. A pretty fine speech was taken up of the poet too, which if he never be paid for now, it's no matter; his wit costs him nothing. Unless we should come in like a morrice-dance, and whistle our ballad ourselves, I know not what we should do: we have neither musician to play our tunes, but the wild music here; and the rogue play-boy, that acts Cupid, is got so hoarse, your majesty cannot hear him half the breadth of your chair. Enter PLUTUS, as CUPID. See, they have thrust him out, at adventure. We humbly beseech your majesty to bear with us. We had both hope and purpose it should have been better, howsoever we are lost in it. Plu. What makes this light, feather'd vanity here? away, impertinent folly! Infect not this assembly. Masq. How, boy! Plu. Thou common corruption of all manners and places that admit thee. Masq. Have you recovered your voice to rail at me? Plu. No, vizarded impudence. I am neither player nor masquer; but the god himself, whose deity is here profaned by thee. Thou, and thy like, think yourselves authorized in this place to all license of surquedry. But you shall find custom hath not so grafted you here, but you may be rent up, and thrown out as unprofitable evils. I tell thee, I will have no more masquing; I will not buy a false and fleeting delight so dear: the merry madness of one hour shall not cost me the repentance of an age. Enter ROBIN GOODFELLOW. Rob. How! no masque, no masque? I pray you say, are you sure on't? no masque, indeed! What do I here then? can you tell? Masq. No, faith. Rob. Slight, I'll be gone again, an there be no masque; there's a jest. Pray you resolve me. there any? or no? a masque? Plu. Who are you ? Rob. Nay, I'll tell you that when I can. Is Does anybody know themselves here, think you? I would fain know if there be a masque or no. Plu. There is none, nor shall be, sir; does that satisfy you? Rob. Slight, a fine trick! a piece a fine trick! a piece of England's Joy, this! Are these your court sports? would I 1 A piece of England's Joy.] See the Masque of Augurs. |