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Edmond Malone [1780], Supplement to the edition of Shakspeare's plays published in 1778 By Samuel Johnson and George Steevens. In two volumes. Containing additional observations by several of the former commentators: to which are subjoined the genuine poems of the same author, and seven plays that have been ascribed to him; with notes By the editor and others (Printed for C. Bathurst [and] W. Strahan [etc.], London) [word count] [S10911].
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Introductory matter

Persons Represented. Husband. Master of a college. A Knight, (a Magistrate.) Several Gentlemen. [Gentleman] [Gentleman 1] [Gentleman 2] [Gentleman 3] Oliver, Servant. Ralph, Servant. Samuel, Servant. Other Servants, and Officers. A little Boy [Son], &c. Wife. Maid-servant. [Maid] [Servant], [Servant 1], [Officer] SCENE, Calverly in Yorkshire.

-- 631 --

1 note

note, and a ballad was made upon it in the following note year, of which probably this tragedy is only an enlargement. The fact is thus related in Stowe's Chronicle, anno 1604 note: “Walter Callverly of Calverly in Yorkshire Esquier, murdred 2 of his young children, stabbed his wife into the bodie with full purpose to have murdred her, and instantly went from his house to have slaine his youngest child at nurse, but was prevented. For which fact at his triall in Yorke hee stood mute, and was judged to be prest to death, according to which judgment he was executed at the castell of Yorke the 5th of August.”

The piece before us was acted at the Globe, together with three other short dramas that were represented on the same day under the name of All's One, as appears from one of the titles of the quarto, 1608, which runs thus: “All's One, or one of the foure plaies in one, called a Yorkshire tragedy; as it was plaid by the king's majestie's plaiers.” Shakspeare's name is affixed to this piece. Malone.

.

A YORKSHIRE TRAGEDY SCENE I. A room in Calverly Hall. Enter Oliver and Ralph2 note

.

Oliv.

Sirrah Ralph, my young mistress is in such a pitiful passionate humour for the long absence of her love—

-- 632 --

Ralph.

Why, can you blame her? Why, apples hanging longer on the tree than when they are ripe3 note




, makes so many fallings; viz. mad wenches, because they are not gathered in time, are fain to drop of themselves, and then 'tis common you know for every man to take them up.

Oliv.

Mass thou say'st true, 'tis common indeed4 note


.
But sirrah, is neither our young master5 note

return'd, nor our fellow Sam come from London?

-- 633 --

Ralph.

Neither of either, as the puritan bawd says6 note. 'Slid I hear Sam. Sam's come; here he is; tarry;—come i'faith: now my nose itches for news.

Oliv.

And so does mine elbow.

Sam. [within.]

Where are you there? Boy, look you walk my horse with discretion. I have rid him simply: I warrant his skin sticks to his back with very heat. If he should catch cold and get the cough of the lungs, I were well served, were I not?

Enter Sam.

What Ralph and Oliver!

Both.

Honest fellow Sam, welcome i'faith. What tricks hast thou brought from London?

Sam.

You see I am hang'd after the truest fashion; three hats, and two glasses bobbing upon them; two rebato wires7 note

upon my breast, a cap-case by my side,

-- 634 --

a brush at my back, an almanack in my pocket, and three ballads in my codpiece8 note. Nay, I am the true picture of a common serving-man9 note.

Oliv.

I'll swear thou art; thou may'st set up when thou wilt: there's many a one begins with less I can tell thee, that proves a rich man ere he dies. But what's the news from London, Sam?

Ralph.

Ay, that's well said; what's the news from London, sirrah? My young mistress keeps such a puling for her love.

Sam.

Why the more fool she; ay, the more ninny-hammer she.

Oliv.

Why, Sam, why?

Sam.

Why, he is married to another long ago.

Both.

I'faith? You jest.

Sam.

Why, did you not know that till now? Why, he's married, beats his wife, and has two or three children by her. For you must note, that any woman bears the more when she is beaten1 note.

Ralph.

Ay, that's true, for she bears the blows.

Oliv.

Sirrah Sam, I would not for two years' wages my young mistress knew so much; she'd run upon the left hand of her wit, and ne'er be her own woman again.

Sam.

And I think she was blest in her cradle, that

-- 635 --

he never came in her bed2 note. Why, he has consum'd all, pawn'd his lands, and made his university brother stand in wax for him3 note: there's a fine phrase for a scrivener4 note
. Puh! he owes more than his skin is worth.

Oliv.

Is't possible?

Sam.

Nay, I'll tell you moreover, he calls his wife whore, as familiarly as one would call Moll and Doll; and his children bastards, as naturally as can be.—But what have we here? I thought 'twas something pull'd down my breeches; I quite forgot my two poking sticks5 note: these came from London. Now any thing is good here that comes from London.

Oliv.

Ay, far fetch'd, you know, Sam6 note

,—But speak in your conscience i'faith; have not we as good poking-sticks i'the country as need to be put in the fire?

Sam.

The mind of a thing is all; the mind of a thing is all; and as thou said'st even now, far-fetch'd are the best things for ladies.

Oliv.

Ay, and for waiting-gentlewomen too.

-- 636 --

Sam.

But Ralph, what, is our beer sour this thunder?

Ralph.

No, no, it holds countenance yet.

Sam.

Why then follow me; I'll teach you the finest humour to be drunk in: I learn'd it at London last week.

Both.

I'faith? Let's hear it, let's hear it.

Sam.

The bravest humour! 'twould do a man good to be drunk in it: they call it knighting in London, when they drink upon their knees7 note



.

Both.

'Faith that's excellent.

Sam.

Come follow me; I'll give you all the degrees of it in order8 note.

[Exeunt. SCENE II. Another apartment in the same. Enter Wife9 note

.

Wife.
What will become of us? All will away:
My husband never ceases in expence,
Both to consume his credit and his house;
And 'tis set down by heaven's just decree,
That riot's child must needs be beggary.

-- 637 --


Are these the virtues that his youth did promise?
Dice and voluptuous meetings, midnight revels,
Taking his bed with surfeits; ill beseeming
The antient honour of his house and name?
And this not all, but that which kills me most,
When he recounts his losses and false fortunes,
The weakness of his state so much dejected1 note






,
Not as a man repentant, but half mad
His fortunes cannot answer his expence,
He sits, and sullenly locks up his arms;
Forgetting heaven, looks downward; which makes him
Appear so dreadful that he frights my heart:
Walks heavily, as if his soul were earth;
Not penitent for those his sins are past,
But vex'd his money cannot make them last:
A fearful melancholy, ungodly sorrow.
O, yonder he comes; now in despight of ills
I'll speak to him, and I will hear him speak,
And do my best to drive it from his heart. Enter Husband.

Hus.
Pox o' the last throw2 note

! It made five hundred angels

-- 638 --


Vanish from my sight. I am damn'd, I'm damn'd;
The angels have forsook me3 note
. Nay it is
Certainly true; for he that has no coin
Is damn'd in this world; he is gone, he's gone.

Wife.
Dear husband.

Hus.
O! most punishment of all, I have a wife4 note


.

Wife.
I do entreat you, as you love your soul,
Tell me the cause of this your discontent.

Hus.
A vengeance strip thee naked! thou art cause,
Effect, quality, property; thou, thou, thou5 note

.
[Exit.

Wife.
Bad turn'd to worse; both beggary of the soul
And of the body;—and so much unlike
Himself at first6 note


, as if some vexed spirit
Had got his form upon him7 note


. He comes again.

-- 639 --

Re-enter Husband.
He says I am the cause: I never yet
Spoke less than words of duty and of love.

Hus.

If marriage be honourable, then cuckolds are honourable, for they cannot be made without marriage. Fool! what meant I to marry to get beggars8 note
?
Now must my eldest son be a knave or nothing; he cannot live upon the fool, for he will have no land to maintain him. That mortgage sits like a snaffle upon mine inheritance9 note

, and makes me
chew upon iron. My second son must be a promoter1 note, and my third a thief, or an under-putter; a slave pander. Oh beggary, beggary, to what base uses dost thou put a man2 note
! I think the devil scorns to
be a bawd; he bears himself more proudly, has more care of his credit3 note

.—Base, slavish, abject,
filthy poverty!

Wife.
Good sir, by all our vows I do beseech you,
Show me the true cause of your discontent.

Hus.

Money, money, money; and thou must supply me.

-- 640 --

Wife.
Alas, I am the least cause of your discontent;
Yet what is mine, either in rings or jewels,
Use to your own desire; but I beseech you,
As you are a gentleman by many bloods4 note
,
Though I myself be out of your respect,
Think on the state of these three lovely boys5 note


You have been father to.

Hus.

Puh! bastards, bastards6 note, bastards; begot in tricks, begot in tricks.

Wife.
Heaven knows how those words wrong me: but I may
Endure these griefs among a thousand more.
O call to mind your lands already mortgag'd,
Yourself wound into debts7 note

, your hopeful brother
At the university in bonds for you,
Like to be seiz'd upon; and—

-- 641 --

Hus.
Have done, thou harlot,
Whom though for fashion-sake I married,
I never could abide. Think'st thou, thy words
Shall kill my pleasures? Fall off to thy friends;
Thou and thy bastards beg; I will not bate
A whit in humour. Midnight, still I love you8 note
,
And revel in your company! Curb'd in,
Shall it be said in all societies,
That I broke custom9 note

? that I flagg'd in money?
No, those thy jewels I will play as freely
As when my state was fullest1 note
.

Wife.
Be it so.

Hus.
Nay I protest (and take that for an earnest) [Spurns her.
I will for ever hold thee in contempt,
And never touch the sheets that cover thee,
But be divorc'd in bed, till thou consent
Thy dowry shall be sold, to give new life
Unto those pleasures which I most affect.

Wife.
Sir, do but turn a gentle eye on me,
And what the law shall give me leave to do,
You shall command.

Hus.
Look it be done. Shall I want dust,

-- 642 --


And like a slave wear nothing in my pockets [Holds his hands in his pockets.
But my bare hands, to fill them up with nails?
O much against my blood2 note
! Let it be done;
I was never made to be a looker on,
A bawd to dice; I'll shake the drabs myself,
And make them yield: I say, look it be done.

Wife.
I take my leave: it shall.
[Exit3 note.

Hus.
Speedily, speedily.
I hate the very hour I chose a wife:
A trouble, trouble! Three children, like three evils,
Hang on me. Fie, fie, fie! Strumpet and bastards! Enter three Gentlemen.
Strumpet and bastards!

1 Gent.
Still do these loathsome thoughts jar on your tongue?
Yourself to stain the honour of your wife,
Nobly descended? Those whom men call mad,
Endanger others; but he's more than mad
That wounds himself; whose own words do proclaim
Scandals unjust, to soil his better name4 note.
It is not fit; I pray, forsake it.

2 Gent.
Good sir, let modesty reprove you.

3 Gent.
Let honest kindness sway so much with you.

-- 643 --

Hus.
Good den5 note

; I thank you, sir; how do you? Adieu!
I am glad to see you. Farewel instructions, admonitions! [Exeunt Gentlemen. Enter a Servant.
How now, sirrah? What would you?

Ser.

Only to certify you, sir, that my mistress was met by the way, by them who were sent for her up to London6 note by her honourable uncle, your worship's late guardian.

Hus.
So, sir, then she is gone; and so may you be;
But let her look the thing be done she wots of,
Or hell will stand more pleasant than her house
At home.
[Exit Servant. Enter a Gentleman.

Gent.
Well or ill met, I care not.

Hus.
No, nor I.

Gent.
I am come with confidence to chide you.

Hus.
Who? me?
Chide me? Do't finely then; let it not move me:
For if thou chid'st me angry, I shall strike7 note

.

Gent.
Strike thine own follies, for 'tis they deserve
To be well beaten. We are now in private;

-- 644 --


There's none but thou and I. Thou art fond and peevish8 note;
An unclean rioter; thy lands and credit
Lie now both sick9 note


of a consumption:
I am sorry for thee. That man spends with shame,
That with his riches doth consume his name;
And such art thou.

Hus.
Peace.

Gent.
No, thou shalt hear me further.
Thy father's and fore-fathers' worthy honours,
Which were our country monuments, our grace,
Follies in thee begin now to deface.
The spring-time of thy youth did fairly promise1 note

Such a most fruitful summer to thy friends,
It scarce can enter into men's beliefs,
Such dearth should hang upon thee. We that see it,
Are sorry to believe it. In thy change,
This voice into all places will be hurl'd—
Thou and the devil have deceiv'd the world.

Hus.
I'll not endure thee.

Gent.
But of all the worst,
Thy virtuous wife, right honourably allied,
Thou hast proclaim'd a strumpet.

Hus.
Nay then I know thee;
Thou art her champion, thou; her private friend;

-- 645 --


The party you wot on2 note.

Gent.
O ignoble thought!
I am past my patient blood. Shall I stand idle,
And see my reputation touch'd to death3 note




?

Hus.
It has gall'd you, this; has it?

Gent.
No, monster; I will prove
My thoughts did only tend to virtuous love.

Hus.
Love of her virtues? there it goes.

Gent.
Base spirit,
To lay thy hate upon the fruitful honour
Of thine own bed!
[They fight, and the Husband is hurt.

Hus.
Oh!

Gent.
Wilt thou yield it yet?

Hus.
Sir, sir, I have not done with you.

Gent.
I hope, nor ne'er shall do.
[They fight again.

Hus.
Have you got tricks? Are you in cunning with me?

Gent.
No, plain and right:
He needs no cunning that for truth doth fight4 note
.
[Husband falls down.

Hus.
Hard fortune! am I levell'd with the ground?

Gent.
Now, sir, you lie at mercy.

Hus.
Ay, you slave.

-- 646 --

Gent.
Alas, that hate should bring us to our grave5 note



!
You see, my sword's not thirsty for your life:
I am sorrier for your wound than you yourself.
You're of a virtuous house; show virtuous deeds;
'Tis not your honour, 'tis your folly bleeds.
Much good has been expected in your life;
Cancel not all men's hopes: you have a wife,
Kind and obedient; heap not wrongful shame
On her and your posterity; let only sin be sore,
And by this fall, rise never to fall more.
And so I leave you. [Exit.

Hus.
Has the dog left me then,
After his tooth has left me6 note
? O, my heart
Would fain leap after him. Revenge I say;
I'm mad to be reveng'd. My strumpet wife,
It is thy quarrel that rips thus my flesh,
And makes my breast spit blood7 note

;—but thou shalt bleed.
Vanquish'd? got down? unable even to speak?
Surely 'tis want of money makes men weak:
Ay, 'twas that o'erthrew me8 note
: I'd ne'er been down else.
[Exit.

-- 647 --

SCENE III. Another room in the same. Enter Wife* note, and a Servant.

Ser.
'Faith, mistress, if it might not be presumption
In me to tell you so, for his excuse
You had small reason, knowing his abuse.

Wife.
I grant I had; but alas,
Why should our faults at home be spread abroad?
'Tis grief enough within doors. At first sight
Mine uncle could run o'er his prodigal life
As perfectly as if his serious eye
Had number'd all his follies:
Knew of his mortgag'd lands, his friends in bonds,
Himself wither'd with debts9 note

; and in that minute
Had I added his usage and unkindness,
'Twould have confounded every thought of good:
Where now, fathering his riots on his youth,
Which time and tame experience will shake off,—
Guessing his kindness to me, (as I smooth'd him1 note






With all the skill I had, though his deserts

-- 648 --


Are in form uglier than an unshap'd bear2 note

,)
He's ready to prefer him to some office
And place at court; a good and sure relief
To all his stooping fortunes. 'Twill be a means, I hope,
To make new league between us, and redeem
His virtues with his lands.

Ser.

I should think so, mistress. If he should not now be kind to you, and love you, and cherish you up, I should think the devil himself kept open house in him.

Wife.

I doubt not but he will. Now pr'ythee leave me; I think I hear him coming.

Ser.

I am gone.

[Exit.

Wife.
By this good means I shall preserve my lands,
And free my husband out of usurers' hands.
Now there's no need of sale; my uncle's kind:
I hope, if aught, this will content his mind.
Here comes my husband.
Enter Husband.

Hus.

Now, are you come? Where's the money? Let's see the money. Is the rubbish sold? those wise-acres, your lands? Why when? The money? Where is it? Pour it down; down with it, down with it: I say pour't on the ground; let's see it, let's see it.

Wife.

Good sir, keep but in patience, and I hope my words shall like you well3 note. I bring you better comfort than the sale of my dowry.

Hus.

Ha! What's that?

Wife.

Pray do not fright me, sir, but vouchsafe me hearing. My uncle, glad of your kindness to me

-- 649 --

and mild usage (for so I made it to him), hath in pity of your declining fortunes, provided a place for you at court, of worth and credit; which so much overjoy'd me—

Hus.

Out on thee, filth! over and overjoy'd, when I'm in torment? [Spurns her.] Thou politick whore4 note
,
subtiler than nine devils, was this thy journey to nunck? to set down the history of me, of my state and fortunes? Shall I that dedicated myself to pleasure, be now confin'd in service? to crouch and stand5 note




like an old man i'the hams6 note




, my hat off? I that
could never abide to uncover my head i'the church? Base slut! this fruit bear thy complaints.

Wife.
O, heaven knows
That my complaints were praises, and best words,
Of you and your estate. Only, my friends
Knew of your mortgag'd lands, and were possess'd
Of every accident before I came.
If you suspect it but a plot in me,
To keep my dowry, or for mine own good,
Or my poor children's, (though it suits a mother
To show a natural care in their reliefs,)
Yet I'll forget myself to calm your blood:
Consume it, as your pleasure counsels you.

-- 650 --


And all I wish even clemency affords;
Give me but pleasant looks* note, and modest words.

Hus.
Money, whore, money, or I'll— [Draws a dagger. Enter a Servant hastily.
What the devil! How now! thy hasty news7 note
?

Ser.
May it please you, sir—

Hus.
What! may I not look upon my dagger?
Speak, villain, or I will execute the point on thee8 note

:
Quick, short.

Ser.

Why, sir, a gentleman from the university stays below to speak with you.

[Exit.

Hus.

From the university? so; university:—that long word runs through me.

[Exit.

Wife.
Was ever wife so wretchedly beset?
Had not this news stepp'd in between, the point
Had offer'd violence unto my breast.
That which some women call great misery,
Would show but little here; would scarce be seen
Among my miseries. I may compare
For wretched fortunes, with all wives that are.
Nothing will please him, until all be nothing.
He calls it slavery to be preferr'd;
A place of credit, a base servitude.
What shall become of me, and my poor children,
Two here, and one at nurse? my pretty beggars!
I see how Ruin with a palsied hand
Begins to shake this ancient seat to dust9 note



:

-- 651 --


The heavy weight of sorrow draws my lids
Over my dankish eyes1 note


: I can scarce see;
Thus grief will last* note;—it wakes and sleeps with me. [Exit. SCENE IV. Another apartment in the same. Enter Husband and the Master of a College.

Hus.

Please you draw near, sir; you're exceeding welcome.

Mast.

That's my doubt; I fear I come not to be welcome.

Hus.

Yes, howsoever.

Mast.

'Tis not my fashion, sir, to dwell in long circumstance, but to be plain and effectual2 note
; therefore
to the purpose. The cause of my setting forth was piteous and lamentable. That hopeful young gentleman your brother, whose virtues we all love dearly, through your default and unnatural negligence

-- 652 --

lies in bond executed for your debt,—a prisoner; all his studies amazed3 note




, his hope struck dead, and the pride of his youth muffled in these dark clouds of oppression.

Hus.

Umph, umph, umph!

Mast.

O you have kill'd the towardest hope of all our university: wherefore, without repentance and amends, expect ponderous and sudden judgments to fall grievously upon you. Your brother, a man who profited in his divine employments, and might have made ten thousand souls fit for heaven4 note, is now by your careless courses cast into prison, which you must answer for; and assure your spirit it will come home at length.

Hus.

O God! oh!

Mast.

Wise men think ill of you; others speak ill of you; no man loves you: nay, even those whom honesty condemns, condemn you: And take this from the virtuous affection I bear your brother; never look for prosperous hour, good thoughts, quiet sleep5 note

, contented walks, nor any thing that makes
man perfect6 note, till you redeem him. What is your

-- 653 --

answer? How will you bestow him? Upon desperate misery, or better hopes?—I suffer till I hear your answer.

Hus.

Sir, you have much wrought with me; I feel you in my soul: you are your art's master7 note. I never had sense till now; your syllables have cleft me8 note



. Both for your words and pains I thank you. I cannot but acknowledge grievous wrongs done to my brother; mighty, mighty, mighty, mighty wrongs. Within, there.

Enter a Servant.

Hus.

Fill me a bowl of wine9 note. [Exit Servant.] Alas, poor brother bruis'd with an execution for my sake!

Mast.

A bruise indeed makes many a mortal sore, Till the grave cure them.

Re-enter Servant with wine.

Hus.

Sir, I begin to you; you've chid your welcome.

Mast.

I could have wish'd it better for your sake. I pledge you, sir:—To the kind man in prison.

Hus.

Let it be so. Now, sir, if you please to spend but a few minutes in a walk about my grounds below, my man here shall attend you. I doubt not but by that time to be furnish'd of a sufficient answer, and therein my brother fully satisfied.

Mast.

Good sir, in that the angels would be pleas'd,

-- 654 --

And the world's murmurs calm'd; and I should say, I set forth then upon a lucky day.

[Exeunt Master and Servant.

Hus.

O thou confused man! Thy pleasant sins have undone thee1 note

; thy damnation has beggar'd thee.
That heaven should say we must not sin, and yet made women2 note! give our senses way to find pleasure, which being found, confounds us! Why should we know those things so much misuse us? O, would virtue had been forbidden! We should then have prov'd all virtuous; for 'tis our blood to love what we are forbidden3 note

. Had not drunkenness been forbidden4 note, what man would have been fool to a beast, and zany to a swine5 note,—to show tricks in the mire? What is there in three dice6 note, to make a man draw thrice three thousand acres into the compass of a little round table, and with the gentleman's palsy in the

-- 655 --

hand shake out his posterity7 note



thieves or beggars?
'Tis done; I have don't i'faith: terrible, horrible misery!—How well was I left8 note! Very well, very well. My lands show'd like a full moon about me; but now the moon's in the last quarter,—waning, waning; and I am mad to think that moon was mine; mine and my father's, and my fore-fathers'; generations, generations.—Down goes the house of us; down, down it sinks. Now is the name a beggar; begs in me. That name which hundreds of years has made this shire famous, in me and my posterity runs out. In my seed five are made miserable besides myself: my riot is now my brother's gaoler, my wife's sighing, my three boys' penury, and mine own confusion.


Why sit my hairs upon my cursed head? [Tears his hair.
Will not this poison scatter them9 note
? O, my brother's
In execution among devils that
Stretch him and make him give* note; and I in want,

-- 656 --


Not able for to live, nor to redeem him!
Divines and dying men may talk of hell,
But in my heart her several torments dwell1 note


;
Slavery and misery. Who, in this case,
Would not take up money upon his soul?
Pawn his salvation, live at interest?
I, that did ever in abundance dwell,
For me to want, exceeds the throes of hell2 note




. Enter a little boy with a top and scourge.

Son.

What ail you, father? Are you not well? I cannot scourge my top as long as you stand so. You take up all the room with your wide legs. Puh! you cannot make me afraid with this; I fear no vizards, nor bugbears3 note.

[He takes up the child by the skirts of his long coat with one hand, and draws his dagger with the other.

Hus.

Up, sir, for here thou hast no inheritance left* note.

Son.

O, what will you do, father? I am your white boy.

Hus.

Thou shalt be my red boy; take that.

[Strikes him.

-- 657 --

Son.

O, you hurt me, father.

Hus.
My eldest beggar,
Thou shalt not live to ask an usurer bread4 note

;
To cry at a great man's gate; or follow,
Good your honour, by a coach; no, nor your brother:
'Tis charity to brain you.

Son.
How shall I learn, now my head's broke5 note?

Hus.
Bleed, bleed, [Stabs him.
Rather than beg. Be not thy name's disgrace:
Spurn thou thy fortunes first; if they be base,
Come view thy second brother's. Fates! My children's blood
Shall spin into your faces6 note

; you shall see,
How confidently we scorn beggary!
[Exit with his Son. SCENE V. A maid discovered with a child in her arms; the mother on a couch by her, asleep.

Maid.
Sleep, sweet babe; sorrow makes thy mother sleep:
It bodes small good when heaviness falls so deep.
Hush, pretty boy; thy hopes might have been better.
'Tis lost at dice, what ancient honour won:
Hard, when the father plays away the son!

-- 658 --


Nothing but Misery serves in this house7 note
;
Ruin and Desolation. Oh! Enter Husband, with his son bleeding.

Hus.
Whore, give me that boy.
[Strives with her for the child.

Maid.
O help, help! Out alas! murder, murder!

Hus.
Are you gossiping, you prating, sturdy quean?
I'll break your clamour with your neck. Down stairs;
Tumble, tumble, headlong. So:— [He throws her down, and stabs the child.
The surest way to charm a woman's tongue8 note,
Is—break her neck: a politician did it9 note


note

.”

When this book was republished for reasons of policy, in 1641, a metrical monologue called Leicester's Ghost, was appended to it, and there likewise the same fact is recorded. The following quotation is from a more perfect and ample Ms. copy of the same poem.


“My first wife she fell downe a paire of staires
And brake her necke, and so at Conmore dyed,
“Whilst her true servants led with small affaires,
“Unto a fayre at Abbingdon did ride;
“This dismall happ did to my wife betyde:
  “Whether ye call yt chance or destinie,
  “Too true yt is, she did untimely dye.”

Lest it should be objected to the probability of Shakspeare's having written the Yorkshire Tragedy, that he would not, on account of his intimacy with the friend of Essex, have treated the memory of Leicester with so much freedom, let me add, that the former was executed in 1600, and our author was therefore left at full liberty to adopt the common sentiments relative to this great but profligate statesman.

The foregoing passage in the Yorkshire Tragedy has indeed always stood within the reach of illustration, Leicester's Commonwealth being a printed work, and consequently in many hands. As the satire however, or foundation of the following line in the Rape of the Lock has not the same advantage, I am tempted to desert my subject, and render a long note still longer, lest a fact should be forgotten which may afford gratification to innocent curiosity.


“Men prove with child as powerful fancy works.” Rape of the Lock, Cant. iv. l. 53.

The fanciful person here alluded to, was Dr. Edward Pelling, one of the chaplains to K. Charles II. James II. William III. and Queen Anne. He held the livings of Great St. Helen's and Ludgate, a prebend of Westminster, &c. Having studied himself into the disorder of mind vulgarly called the hyp, (for he rarely quitted his study except during dinner-time,) between the age of forty and fifty he imagined himself to be pregnant, and forebore all manner of exercise, lest motion should prove injurious to his ideal burden. Nor did the whim evaporate till his wife had assured him she was really in his supposed condition. This lady was masculine and large-bon'd in the extreme; and our merry monarch Charles being told of the strange conceit adopted by his chaplain, desired to see her. He did; and, as she quitted his presence, he exclaimed with a good round oath, that “if any woman could get her husband with child, it must be Mrs. Pelling.” I received this narrative from one of the doctor's grandaughters, who is still alive, and remembers that the line of Pope already quoted, was always supposed to have reference to the story I have here intruded on the reader.

I may also add that Mr. Pope has adopted the merriment in the next line,


“And maids turn'd bottles call aloud for corks,”

from the Loyal Subject of Beaumont and Fletcher, act iv. sc. 2:


“&lblank; Are women now
“O'the nature of bottles, to be stopt with corks?” Steevens..

-- 659 --

Son.
Mother, mother; I am kill'd, mother1 note
.
[Wife awakes.

-- 660 --

Wife.
Ha, who's that cry'd? O me! my children!
Both, both, bloody, bloody!
[Catches up the youngest child.

Hus.
Strumpet, let go the boy; let go the beggar.

Wife.
O my sweet husband!

Hus.
Filth, harlot.

Wife.
O, what will you do, dear husband?

Hus.
Give me the bastard.

Wife.
Your own sweet boy—

Hus.
There are too many beggars.

-- 661 --

Wife.
Good my husband—

Hus.
Dost thou prevent me still?

Wife.
O God!

Hus.
Have at his heart.
[Stabs at the child in her arms.

Wife.
O, my dear boy!

Hus.
Brat, thou shalt not live to shame thy house—

Wife.
Oh heaven!
[She is hurt, and sinks down.

Hus.
And perish!—Now be gone:
There's whores enough, and want would make thee one2 note

.
Enter a Servant3 note



.

Ser.
O sir, what deeds are these?

Hus.
Base slave, my vassal!
Com'st thou between my fury to question me4 note
?

Ser.
Were you the devil, I would hold you, sir.

Hus.
Hold me? Presumption! I'll undo thee for it.

Ser.
'Sblood, you have undone us all, sir.

Hus.
Tug at thy master?

Ser.
Tug at a monster.

Hus.
Have I no power? Shall my slave fetter me?

Ser.
Nay then the devil wrestles; I am thrown.

Hus.
O villain! now I'll tug thee, now I'll tear thee;

-- 662 --


Set quick spurs to my vassal5 note



; bruise him, trample him.
So; I think thou wilt not follow me in haste.
My horse stands ready saddled. Away, away;
Now to my brat at nurse, my sucking beggar:
Fates, I'll not leave you one to trample on! [Exit. SCENE VI. Court before the house. Enter Husband; to him the Master of the College.

Mast.
How is it with you, sir?
Methinks you look of a distracted colour.

Hus.
Who, I, sir? 'Tis but your fancy6 note


.
Please you walk in, sir, and I'll soon resolve you:
I want one small part to make up the sum,
And then my brother shall rest satisfied.

Mast.
I shall be glad to see it: Sir, I'll attend you.
[Exeunt.

-- 663 --

SCENE VII. A room in the house. The Wife, Servant, and Children discovered.

Ser.
Oh, I am scarce able to heave up myself,
He has so bruis'd me with his devilish weight,
And torn my flesh with his blood hasty spur:
A man before of easy constitution,
Till now Hell power supplied, to his soul's wrong:
O how damnation can make weak men strong7 note
!
Enter the Master of the College and two Servants.

Ser.
O the most piteous deed, sir, since you came!

Mast.
A deadly greeting8 note
! Hath he summ'd up these
To satisfy his brother? Here's another;
And by the bleeding infants, the dead mother.

Wife.
Oh! oh!

Mast.
Surgeons! surgeons! she recovers life:—
One of his men all faint and bloodied!

1 Ser.
Follow; our murderous master has took horse
To kill his child at nurse. O, follow quickly.

Mast.
I am the readiest; it shall be my charge
To raise the town upon him9 note.

-- 664 --

1 Ser.
Good sir, do follow him.
[Exeunt Master and two Servants.

Wife.
O my children!

1 Ser.
How is it with my most afflicted mistress?

Wife.
Why do I now recover? Why half live,
To see my children bleed before mine eyes?
A sight able to kill a mother's breast, without
An executioner.—What, art thou mangled too?

1 Ser.
I, thinking to prevent what his quick mischiefs
Had so soon acted, came and rush'd upon him.
We struggled; but a fouler strength than his
O'erthrew me with his arms* note; then did he bruise me,
And rent my flesh, and robb'd me of my hair;
Like a man mad in execution1 note,
Made me unfit to rise and follow him.

Wife.
What is it has beguil'd him of all grace,
And stole away humanity from his breast?
To slay his children, purpose to kill his wife,
And spoil his servants—
Enter a Servant.

Serv.
Please you to leave this most accursed place:
A surgeon waits within.

Wife.
Willing to leave it?
'Tis guilty of sweet blood, innocent blood:
Murder has took this chamber with full hands,
And will ne'er out as long as the house stands.
[Exeunt.

-- 665 --

SCENE VIII. A high road. Enter Husband. He falls.

Hus.
O stumbling jade! The spavin overtake thee!
The fifty diseases stop thee2 note

!
Oh, I am sorely bruis'd! Plague founder thee!
Thou run'st at ease and pleasure. Heart of chance!
To throw me now, within a flight o' the town3 note,
In such plain even ground too! 'Sfoot, a man
May dice upon it, and throw away the meadows4 note.
Filthy beast!

[Cry within.]
Follow, follow, follow.

Hus.
Ha! I hear sounds of men, like hue and cry.
Up, up, and struggle to thy horse; make on;
Dispatch that little beggar, and all's done.

[Cry within.]
Here, here; this way, this way.

Hus.
At my back? Oh,
What fate have I! my limbs deny me go.
My will is 'bated5 note


; beggary claims a part.
O could I here reach to the infant's heart!

-- 666 --

Enter the Master of the College6 note, three Gentlemen, and Attendants with halberds.

All.
Here, here; yonder, yonder.

Mast.
Unnatural, flinty, more than barbarous!
The Scythians, even the marble-hearted Fates,
Could not have acted more remorseless deeds,
In their relentless natures7 note











, than these of thine.

-- 667 --


Was this the answer I long waited on?
The satisfaction for thy prison'd brother?

Hus.
Why he can have no more of us than our skins8 note,
And some of them want but fleaing.

1 Gent.
Great sins have made him impudent9 note

.

Mast.
He has shed so much blood, that he cannot blush.

2 Gent.
Away with him; bear him to the justice's.
A gentleman of worship dwells at hand:
There shall his deeds be blaz'd1 note



.

Hus.
Why all the better.
My glory 'tis to have my action known;
I grieve for nothing, but I miss'd of one.

Mast.
There's little of a father in that grief2 note

:
Bear him away.
[Exeunt.

-- 668 --

SCENE IX. A room in the house of a Magistrate. Enter a Knight, and three Gentlemen.

Knight.
Endanger'd so his wife? murder'd his children?

1 Gent.
So the cry goes3 note
.

Knight.
I am sorry I e'er knew him;
That ever he took life and natural being
From such an honour'd stock, and fair descent,
Till this black minute without stain or blemish4 note.

1 Gent.
Here come the men.
Enter Master of the College, &c. with the Prisoner.

Knight.
The serpent of his house5 note! I am sorry
For this time, that I am in place of justice.

Mast.
Please you, sir—

Knight.
Do not repeat it twice; I know too much6 note

:

-- 669 --


Would it had ne'er been thought on! Sir, I bleed For you.

1 Gent.
Your father's sorrows are alive in me7 note

.
What made you show such monstrous cruelty?

Hus.

In a word, sir, I have consum'd all, play'd away long-acre; and I thought it the charitablest deed I could do, to cozen beggary, and knock my house o' the head.

Knight.
O, in a cooler blood you will repent it.

Hus.
I repent now that one is left unkill'd;
My brat at nurse. I would full fain have wean'd him.

Knight.
Well, I do not think, but in to-morrow's judgment,
The terror will sit closer to your soul8 note

,
When the dread thought of death remembers you9 note

:
To further which, take this sad voice from me,
Never was act play'd more unnaturally.

Hus.
I thank you, sir.

Knight.
Go lead him to the gaol:
Where justice claims all, there must pity fail.

Hus.
Come, come; away with me1 note
.
[Exeunt Husband, &c.

-- 670 --

Mast.
Sir, you deserve the worship of your place:
Would all did so! In you the law is grace.

Knight.
It is my wish it should be so.—Ruinous man!
The desolation of his house, the blot
Upon his predecessors' honour'd name!
That man is nearest shame, that is past shame* note
.
[Exeunt. SCENE X. Before Calverly Hall. Enter Husband guarded, Master of the College, Gentlemen, and Attendants.

Hus.
I am right against my house,—seat of my ancestors2 note:

-- 671 --


I hear my wife's alive, but much endanger'd.
Let me entreat to speak with her, before
The prison gripe me. His Wife is brought in.

Gent.
See, here she comes of herself.

Wife.
O my sweet husband, my dear distress'd husband,
Now in the hands of unrelenting laws,
My greatest sorrow, my extremest bleeding;
Now my soul bleeds3 note
.

Hus.
How now? Kind to me? Did I not wound thee?
Left thee for dead?

Wife.
Tut, far, far greater wounds did my breast feel;
Unkindness strikes a deeper wound than steel.
You have been still unkind to me.

Hus.
'Faith, and so I think I have;
I did my murders roughly out of hand,
Desperate and sudden; but thou hast devis'd
A fine way now to kill me4 note






: thou hast given mine eyes

-- 672 --


Seven wounds apiece. Now glides the devil from me,
Departs at every joint; heaves up my nails.
O catch him torments, that were ne'er invented!
Bind him one thousand more5 note

, you blessed angels,
In that pit bottomless! Let him not rise
To make men act unnatural tragedies;
To spread into a father6 note, and in fury
Make him his children's executioner;
Murder his wife, his servants, and who not?—
For that man's dark, where heaven is quite forgot7 note

.

Wife.
O my repentant husband!

Hus.
O my dear soul, whom I too much have wrong'd;
For death I die8 note
, and for this have I long'd.

Wife.
Thou should'st not, be assur'd, for these faults die
If the law could forgive as soon as I9 note


.
[The two children laid out.

Hus.
What sight is yonder?

-- 673 --

Wife.
O, our two bleeding boys,
Laid forth upon the threshold.

Hus.
Here's weight enough to make a heart-string crack1 note
.
O were it lawful that your pretty souls
Might look from heaven into your father's eyes,
Then should you see the penitent glasses melt,
And both your murders shoot upon my cheeks2 note!
But you are playing in the angels' laps,
And will not look on me, who, void of grace,
Kill'd you in beggary.
O that I might my wishes now attain,
I should then wish you living were again,
Though I did beg with you, which thing I fear'd:
O, 'twas the enemy my eyes so blear'd3 note


[unresolved image link]!
O, would you could pray heaven me to forgive,
That will unto my end repentant live!

Wife.
It makes me even forget all other sorrows4 note







,
And live apart with this.

-- 674 --

Offi.
Come, will you go?

Hus.
I'll kiss the blood I spilt, and then I'll go:
My soul is bloodied, well may my lips be so.
Farewel, dear wife; now thou and I must part;
I of thy wrongs repent me with my heart.

Wife.
O stay; thou shalt not go.

Hus.
That's but in vain; you see it must be so.
Farewel ye bloody ashes of my boys!
My punishments are their eternal joys5 note.
Let every father look into my deeds,
And then their heirs may prosper, while mine bleeds6 note




. [Exeunt Husband and Officers.

Wife.
More wretched am I now in this distress,
Than former sorrows made me.

Mast.
O kind wife,
Be comforted; one joy is yet unmurder'd;
You have a boy at nurse; your joy's in him.

Wife.
Dearer than all is my poor husband's life.
Heaven give my body strength, which is yet faint
With much expence of blood, and I will kneel,

-- 675 --


Sue for his life, number up all my friends
To plead for pardon for my dear husband's life.

Mast.
Was it in man to wound so kind a creature?
I'll ever praise a woman for thy sake.
I must return with grief; my answer's set7 note;
I shall bring news weighs heavier than the debt.
Two brothers, one in bond lies overthrown,
This on a deadlier execution8 note.
[Exeunt omnes.

Concerning this play I have not been able to form any decided opinion. The arguments produced by Mr. Steevens in support of its authenticity, appear to me to have considerable weight. If its date were not so precisely ascertained, little doubt would remain, in my mind at least, upon the subject. I find it however difficult to believe that Shakspeare could have written Macbeth, King Lear, and the Yorkshire Tragedy, at nearly the same period. Malone.

The Yorkshire Tragedy hath been frequently called Shakspeare's earliest attempt in the drama; but most certainly it was not written by our poet at all. The fact on which it is built, was perpetrated no sooner than 1605; much too late for so mean a performance from the hand of Shakspeare. Farmer.

Long ago was it observed by Dr. Johnson, that from mere inequality in works of imagination nothing could with exactness be inferred; but if Dr. Farmer's argument be allowed to operate in respect to Shakspeare on this occasion, may it not be employed hereafter with equal force in regard to Dryden and Rowe? It will surely tend to prove that the author of Don Sebastian did not finish his dramatick career with so mean a performance as Love Triumphant, or that the despicable Biter was produced earlier than all the other plays by the same hand, as much as that Shakspeare was not the writer of the Yorkshire Tragedy, because it is unworthy of his ripen'd genius and amended judgment.

I confess I have always regarded this little drama as a genuine but a hasty production of our author * note. Though he was seldom vigilant of reputation as a poet, he might sometimes have been attentive to gain as a manager. Laying hold therefore on the popular narrative * note

of this “bloody business,” it was natural enough that he should immediately adapt it to the stage. His play indeed has all the marks of an unpremeditated composition. As fast as ideas on the subject presented themselves, whether clothed in verse or prose, they seem to have been thrown on paper, without the slightest regard to method or uniformity of writing. The piece was probably meant for representation no longer than while its original continued fresh in the memory of the audience; and we therefore find the corruptions in it are few, being proportioned to the shortness of its run.—Other reasons, however, may be assigned for the appearance of a tragedy compressed within such narrow limits. Perhaps it was contrived as a prop to some feeble, or as a supplement to some scanty performance;—was produced through a wish to join with three particular friends in the entertainment of a single afternoon;—or was only intended as a sketch which the author would at leisure have transplanted on a more extensive canvas. It is possible also that it was manufactured out of some loose unconnected scenes, attempted in the infancy of Shakspeare's art † note, being meant by him to have comprehended the whole circle of misfortunes incident to an unthinking London Prodigalnote


; and as this intention of his was divulged in the theatre among his comrades, it might prove the reason why another piece with the same title was afterwards ascribed to him. When the news of the Yorkshire catastrophe arrived in London, he might have been tempted to accommodate this his early prolusion, as well as haste would permit (for indeed his later corrections often militate against his original plans) to the particulars of another story, (as Otway has since converted Romeo into the younger Marius) for many events are introduced into our tragedy which form no part of the tale as I received it from a person who had heard it frequently related in the parish where the hero of it lived. Hence the incongruity of the beginning, &c. with all the rest, and the accumulation of incidents neither to be found in Stowe's continuator, or the ballads of the age, which usually confined themselves within the bounds of circumstantiality and truth. Yet whatever was its origin or mode of construction, though by no means one of our author's most powerful effusions, it is still entitled to better treatment than it has hitherto met with from its various editors. If, on the whole, it has less poetical merit than some of the serious dialogues in the Midsummer Night's Dream, or Love's Labour's Lost, it has surely as much of nature as will be discovered in many parts of these desultory dramas. Murder, which appears ridiculous in Titus Andronicus, has its proper effect in the Yorkshire Tragedy; and the command this little piece may claim over the passions, will be found to equal any our author has vested in the tragick divisions of Troilus and Cressida,—I had almost said in King Richard the Second, which criticks may applaud, though the successive audiences of more than a century have respectfully slumbered over it as often as it has appeared on the stage. Mr. Garrick had once resolved on its revival; but his good sense at last overpowered his ambition to raise it to the dignity of the acting list. Yet our late Roscius's chief expectations from it, as he himself confessed, would have been founded on scenery displaying the magnificence of our ancient barriers.—To return to my subject, this tragedy in miniature (exhibiting at least three of the characteristicks of Shakspeare, I mean his quibbles, his facility of metre, and his struggles to introduce comick ideas into tragick situations) appears at present before the reader with every advantage that a careful comparison of copies, and attention to obscurities, could bestow on it; and yet among the slight outlines of our theatrical Raphael, and not among his finished paintings, can it expect to maintain a place.

The Companion to the Playhouse however informs us that the late Mr. Aaron Hill has founded on it “a very beautiful piece of one act, entitled Fatal Extravagance.” It was represented, if not published, in 1720, under the name of Joseph Mitchell, an unfortunate though an amiable man, who was then in need of pecuniary assistance. I have never met with this production; but additional respect is surely due to the plot of the Yorkshire Tragedy, since it has been adopted by the translator of Merope and Zayre, who possessed no common share of dramatick sagacity, and has the merit of being the first who showed our theatrical adventurers the way into the treasury of Voltaire. Mr. Hill, however, was not, like some of his successors, a borrower without acknowledgement, or a copier who had produced no originals.

As the ability and erudition displayed by Mr. Malone in the publication of the preceding plays, cannot fail to obtain for them a greater number of readers than they have hitherto met with, perhaps this is no improper time to suggest an inquiry how it happened that the name of Shakspeare should be prefixed to five dramas of discordant styles, and inconsiderable merit, rather than to as many others approaching nearer to his own language, and not altogether so much beneath his acknowledged excellence. The scanty light I can throw on this matter, is by supposing that our author had casually mentioned a future design of adopting subjects similar to those of Locrine, the Puritan, &c; and was afterwards known to have been instrumental in bringing pieces with such titles on the stage;—or that he recommended some trivial alterations in them while they were yet in rehearsal;—or that their real owners being carefully concealed, these productions were imputed to him as to one whose reputation was best able to promote their sale, or support their credit with an audience. The necessity of sheltering the plays of unpopular poets under borrowed names, was, I believe, at that period unknown, as well as the more malicious practice of fathering unsuccessful scenes on persons by whom they were never written. Neither was it then customary (as since) for distinguished authors to lend or sell their names, or to permit (like some Italian artists) the scholar to vend his paintings for those of the master. It seems however that it was not unusual for booksellers to issue out the works of one man under the nominal sanction of another. Heywood, in his preface to the Brazen Age, complains that a noted pedagogue had impudently stolen from him certain versions of Ovid, and published them as his own. Shirley likewise claims a play which was sent into the world as Fletcher's * note. I know indeed that our ancient stationers were not very scrupulous in this particular † note. Anticipated by their rivals in procuring copies of some of Shakspeare's genuine labours, by way of retaliation they might have placed his name before the next tragedies or comedies that fell into their hands. Part of this indeed is but conjecture I have merely started the subject, and leave it to be pursued by literary antiquarians whose sagacity and experience are greater than mine; repeating only that Locrine and the Puritan were possibly the works of two different academicks; that Oldcastle and Cromwell (as Dr. Farmer observes) might be ranked among the almost innumerable dramas of Heywood; and that the Prodigal, having nothing characteristick in its composition, may with equal likelihood be ascribed to a pen distinct from all the rest. Here however I should observe that Locrine, Cromwell, and the Puritan, were not publickly ascribed to our author till the appearance of the folio in 1664. What has been previously urged with relation to the Two Noble Kinsmen, Pericles, and the Yorkshire Tragedy, is submitted to every reader with that total diffidence which should always accompany imperfect knowledge, and would by no means disgrace even opinions built on more solid grounds than those of bare probability.

I cannot conclude this note without observing how fortunate a circumstance it is for any society, and especially for one immediately subservient to learning, when an intelligent man is placed by the chance of rotation at its head. To the careful researches and liberal curiosity of Mr. Lockyer Davis, the present Master of the Stationers' Company, we owe a recent discovery of the greater part of the first volume of their records, which was long supposed to have been lost through negligence, or to have been destroyed in the fire of London. The numberless dates of our earliest interludes, plays, ballads, &c. which will hereafter be ascertained by the aid of these annals, cannot fail to rank the name of the gentleman already mentioned among those of the best benefactors to the history of ancient English literature. Many of our critical or biographical performances may also in time to come be indebted to the warmth of his zeal, and the success of his investigations. At least I am sure that the labour of turning over the memoirs which he has rescued from oblivion, will be considerably alleviated, should his successors entrust them to future authors, with a readiness and politeness like his own. Steevens.

-- 681 --

Next section


Edmond Malone [1780], Supplement to the edition of Shakspeare's plays published in 1778 By Samuel Johnson and George Steevens. In two volumes. Containing additional observations by several of the former commentators: to which are subjoined the genuine poems of the same author, and seven plays that have been ascribed to him; with notes By the editor and others (Printed for C. Bathurst [and] W. Strahan [etc.], London) [word count] [S10911].
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