LOVE'S TRIUMPH through CalLIPOLIS.] From the small edition in 4to. 1630, which differs in no material point from the second folio. In this, which was the Queen's Masque, the King was a performer; in that which follows, (the King's Masque,) she returned the compliment. It does not appear that either Love's Triumph, or Chloridia, which follows it, was given to the press by Jonson: the latter is not dated, but was printed for the same bookseller, Thomas Walkley, as the former.

LOVE'S TRIUMPH.

TO MAKE THE SPECTATORS UNDERSTANDERS.

HEREAS, all Representations, especially those of this nature in court, public spectacles, either have been, or ought to be, the mirrors of man's life, whose ends, for the excellence of their exhibitors (as being the donatives of great princes to their people) ought always to carry a mixture of profit with them, no less than delight; we, the inventors, being commanded from the KING to think on something worthy of his majesty's putting in act, with a selected company of his lords and gentlemen, called to the assistance; for the honour of his court, and the dignity of that heroic love, and regal respect born by him to his unmatchable lady and spouse, the queen's majesty, after some debate of cogitation with ourselves, resolved on this following argument.

First, that a person, boni ominis, of a good character, as Euphemus, sent down from heaven to Callipolis, which is understood the city of Beauty or Goodness, should come in; and, finding her majesty there enthroned, declare unto her, that Love, who was wont to be respected as a special deity in court,

1 After some debate with ourselves, &c.] This is worth notice, as it seems to prove that up to this late period, nearly thirty years from the commencement of their connection, nothing had happened to interrupt the good understanding between Inigo Jones and Jonson.

and tutelar god of the place, had of late received an
advertisement, that in the suburbs, or skirts of
Callipolis, were crept in certain sectaries, or depraved
lovers, who neither knew the name, or nature of love
rightly, yet boasted themselves his followers, when
they were fitter to be called his furies: their whole
life being a continued vertigo, or rather a torture on
the wheel of love, than any motion either of order
or measure. When suddenly they leap forth below,
a mistress leading them, and with antic gesticulation
and action, after the manner of the old pantomimi,
they dance over a distracted comedy of love, express-
ing their confused affections, in the scenical persons
and habits of the four prime European nations.
A glorious boasting lover.

A whining ballading lover.
An adventurous romance lover.
A phantastic umbrageous lover.
A bribing corrupt lover.
A froward jealous lover.
A sordid illiberal lover.
A proud scornful lover.
An angry quarrelling lover.
A melancholic despairing lover.
An envious unquiet lover.

A sensual brute lover.

All which, in varied intricate turns, and involved mazes, exprest, make the ANTIMASQUE and conclude the exit, in a circle.

EUPHEMUS descends singing.

Foy, joy to mortals, the rejoicing fires
Of gladness smile in your dilated hearts!
Whilst love presents a world of chaste desires,
Which may produce a harmony of parts!

Love is the right affection of the mind,
The noble appetite of what is best:
Desire of union with the thing design'd,
But in fruition of it cannot rest.

The father Plenty is, the mother Want,
Plenty the beauty which it wanteth draws;
Want yields itself; affording what is scant :
So both affections are the union's cause.

But rest not here. For love hath larger scopes,
New joys, new pleasures, of as fresh a date
As are his minutes: and in him no hopes
Are pure, but those he can perpetuate.

[He goes up to the state.

To you, that are by excellence a queen!
The top of beauty! but of such an air,
As only by the mind's eye may
be seen

Your interwoven lines of good and fair!

Vouchsafe to grace love's triumph here to-night,
Through all the streets of your Callipolis;
Which by the splendor of your rays made bright,
The seat and region of all beauty is.

Love in perfection longeth to appear,

But prays of favour he be not call'd on,
Till all the suburbs and the skirts be clear
Of perturbations, and th' infection gone.

Then will he flow forth, like a rich perfume
Into your nostrils! or some sweeter sound
Of melting music, that shall not consume

Within the ear, but run the mazes round.

2 The father Plenty is, the mother Want.] This allegory is a fiction of Plato, in his Symposium. WHAL.

Whalley was not aware of the existence of the 4to. edition. There Jonson gives the names Porus and Penia.

Here the CHORUS walk about with their censers.

Cho. Mean time, we make lustration of the place,

And, with our solemn fires and waters prove
T'have frighted hence the weak diseased race
Of those were tortured on the wheel of love.
The Glorious, Whining, the Adventurous fool,
Fantastic, Bribing, and the Jealous ass.
The Sordid, Scornful, and the Angry mule,

The Melancholic, Dull, and Envious mass.

Grand Cho. With all the rest, that in the sensual school

Of lust, for their degree of brute may pass;

All which are vapour'd hence.

No loves, but slaves to sense;

Mere cattle, and not men.

Sound, sound, and treble all our joys agen,
Who had the power and virtue to remove
Such monsters from the labyrinth of love.

The scene opens and discovers a prospect of the sea. The TRIUMPH is first seen afar off, and led in by AMPHITRITE, the wife of OCEANUS, with four sea gods attending her, NEREUS, PROTEUS, GLAUCUS, PALÆMON.

3

The Triumph consisted of fifteen Lovers, and as many Cupids, who rank themselves seven and seven on a side, with each a Cupid before him,

3 The Triumph, &c.] The approach of this Triumph, (that is the procession, or grand entry of the Masquers crowned with chaplets of roses, laurel, and all the rich adornments of victory, and ushered in by a blaze of torches,) must have afforded a magnificent spectacle. Indeed, the whole of this masque is creditable to the fancy of the inventors; who appear to have consulted the splendour of the show more than the usual concomitants of poetry, music, and dancing.