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Or moral Skogan? I do like their shew, And would have thanked them, being the first grace
The company of the Rosy-cross hath done
Johp. The company o' the Rosy-cross, you widgeon!
The company of [the] players.1 Go, you
And will be still yourself, a Merefool, in:
Macaria, prince of all the isles,
The winds are sweet and gently blow,
The father of the flowers:
Cho. Then think it not a common cause,
And take your pot of honey here, and hogs-That to it so much wonder draws,
See who has gulled you, and make one.
Your pardon, if desire to please have trespassed.
This fool should have been sent to Anticyra,
The isle of Ellebore, there to have purged, Not hoped a happy seat within your waters. Hear now the message of the Fates, and
On whom these Fates depend, to you, as Neptune
The great commander of the seas and isles. That point of revolution being come, When all the Fortunate Islands should be joined,
MACARIA one, and thought a principal, That hitherto hath floated, as uncertain Where she should fix her blessings, is tonight
Instructed to adhere to your Britannia : That where the happy spirits live, hereafter Might be no question made by the most curious,
Since the MACARII come to do you homage,
And join their cradle to your continent. Here the Scene opens, and the MASQUERS are discovered sitting in their several sieges. The air opens above, and APOLLO, with HARMONY and the SPIRITS of Music, sing, the while the Island moves forward, PROTEUS sitting below and hearkening.
Look forth, the Shepherd of the Seas, And of the ports that keep the keys, And to your Neptune tell,
The company [of] the players.] Professional actors, as has been already observed, were sometimes employed in the Antimasques, more especially where they were of a very grotesque and ridiculous nature.
And all the heavens consent, With harmony to tune their notes, In answer to the public votes,
That for it up were sent.
By this time, the island having joined itself to the shore, PROTEUS, PORTUNUS, and SARON come forth, and go up singing to the state, while the MASQUERS take time to rank themselves.
Blows here, but
And where loves!
No intermitted wind what leaves flowers or
Cho. 'Tis odour all that comes !
To man, nor any grief that he dares own.
Por. Here all the day they feast, they sport and spring,
Now dance the Graces' hay, now Venus ring:
To which the old musicians play and sing.
Pro. Stesichorus there too,
Of joining the bright Lily and the Rose.
Pro. That spring the banks along, Do move their heads unto that under song. Cho. Saron, Portunus, Proteus, help to bring
Our primrose in, the glory of the spring; And tell the daffodil, against that day, That we prepare new gyrlands fresh as May,
And interweave the myrtle and the bay. This sung, the island goes back, whilst the Upper Chorus takes it from them, and the MASQUERS prepare for their figure.
Cho. Spring all the graces of the age,
The looks, the laughters, and the sports;
Which done, the first prospective, a maritime palace, or the house of OCEANUS, is discovered to loud music.
The other above is no more seen. Johp. Behold the palace of Oceanus ! Hail, reverend structure! boast no more to
Thy being able all the gods to feast; We saw enough when Albion was thy guest.
Here the MEASURES.
After which, the second prospective, a sea, is shown to the former music.
Johp. Now turn, and view the wonders of the deep,
Where Proteus' herds and Neptune's orks do keep,
Where all is ploughed, yet still the pasture's green,
New ways are found, and yet no paths are
Here PROTEUS, PORTUNUS, SARON, go up to the Ladies with this SONG.
Pro. Come, noble nymphs, and do not hide
The joys for which you so provide :
Sar. If not to mingle with the men, What do you here? Go home agen. Por.
Your dressings do confess,
Of Pallas and Arachne's arts,
That you could mean no less. Pro. Why do you wear the silkworm's toils,
Or strive to shew the grains of ore
To graft the greener emerald on,
Sar. Or ruby of the rock.
Sar. Try, put yourselves unto't. Cho. Your looks, your smiles, and thoughts that meet, Ambrosian hands and silver feet,
Do promise you will do't.
The REVELS follow.
Which ended, the fleet is discovered, while the three cornets play.
Johp. 'Tis time your eyes should be refreshed at length
With something new, a part of Neptune's strength,
See yond his fleet, ready to go or come,
Pro. Although we wish the glory still
Of such a night, and for the causes past: Yet now, great lord of waters and of isles, Give Proteus leave to turn unto his wiles.
Por. And whilst young Albion doth thy And 'mongst the winds dost suffer no delabours ease,
Dispatch Portunus to the ports,
Sar. And Saron to the seas, To meet old Nereus with his fifty girls, From aged Indus laden home with pearls And orient gums, to burn unto thy name. Cho. And may thy subjects' hearts be all on flame,
Whilst thou dost keep the earth in firm estate,
But both at sea and land our powers in
With health, and all the golden gifts of peace.
After which they danced their last
And thus it ended.
Love's Triumph through Callipolis.
PERFORMED IN A MASQUE AT COURT, 1630, BY HIS MAJESTY, WITH THE LORDS AND GENTLEMEN ASSISTING.
The Inventors, BEN JONSON; INIGO JONES.
Quando magis dignos licuit spectare triumphos ?
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.
TO MAKE THE SPECTATORS UNDER-
stood the city of Beauty or Goodness, should come in; and, finding Her Majesty there enthroned, declare unto her that Love, Whereas all Representations, especially who was wont to be respected as a special those of this nature in court, public spec- deity in court, and tutelar god of the place, tacles, either have been, or ought to be, the had of late received an advertisement that mirrors of man's life, whose ends, for the in the suburbs or skirts of Callipolis were excellence of their exhibitors (as being the crept in certain sectaries or depraved lovers, donatives of great princes to their people), who neither knew the name or nature ought always to carry a mixture of profit of love rightly, yet boasted themselves his with them no less than delight; we, the followers, when they were fitter to be called inventors, being commanded from the his furies: their whole life being a conKING to think on something worthy of His tinued vertigo, or rather a torture on the Majesty's putting in act, with a selected wheel of love than any motion either of company of his lords and gentlemen, called order or measure. When suddenly they to the assistance; for the honour of his leap forth below, a mistress leading them, court, and the dignity of that heroic love and with antic gesticulation and action, and regal respect born by him to his un-after the manner of the old pantomimi, they matchable lady and spouse the Queen's dance over a distracted comedy of love, exmajesty, after some debate of cogitation pressing their confused affections in the with ourselves, resolved on this following scenical persons and habits of the four argument. prime European nations.
First, that a person, boni ominis, of a good character, as Euphemus, sent down from heaven to Callipolis, which is under
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
A glorious boasting lover.
An adventurous romance lover.
the commencement of their connexion, nothing had happened to interrupt the good understand ing between Inigo Jones and Jonson.
A phantastic umbrageous lover.
A bribing corrupt lover.
A sordid illiberal lover.
A proud scornful lover.
A melancholic despairing 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.
Joy, 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 designed, But in fruition of it cannot rest. The father Plenty is, the mother Want,1
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
As are his minutes: and in him no hopes
Your enterwoven lines of good and fair! Vouchsafe to grace Love's triumph here tonight,
Through all the streets of your Callipolis; Which by the splendour 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 called on,
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.
2 The Triumph, &c.] The approach of this Triumph (that is, the procession or grand entry of the Masquers, crowned with chaplets of roses,
The Sordid, Scornful, and the Angry mule, Fantastic, Bribing, and the Jealous ass. 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
All which are vapoured hence.
Sound, sound, and treble all our joys
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.
The Triumph consists of fifteen LOVERS,
and as many Cupids, who rank themselves seven and seven on a side, with each a Cupid before him with a lighted torch, and the middle person (which is his Majesty) placed in the centre.3
Amph. Here stay a while: this, this, The temple of all beauty is !
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.
3 If the reader is curious to know who presented the respective lovers, he may learn it