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- Herausgeber: Charles River Editors
- Kategorie: Lebensstil
- Sprache: Englisch
- Veröffentlichungsjahr: 2018
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EVERY MAN OUT OF HIS HUMOUR
Ben Jonson
KYPROS PRESS
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Copyright © 2015 by Ben Jonson
TABLE OF CONTENTS
Every Man out of His Humour
TO THE NOBLEST NURSERIES OF HUMANITY AND LIBERTY IN THE KINGDOM THE INNS OF COURT
DRAMATIS PERSONAE
THE CHARACTERS OF THE PERSONS
ACT I
SCENE I. — The Country.
ACT II
SCENE I. — THE COUNTRY; BEFORE PUNTARVOLO’S HOUSE.
SCENE II. A ROOM IN DELIRO’S HOUSE.
ACT III
SCENE I. — THE MIDDLE AISLE OF ST. PAUL’S.
SCENE II. — THE COUNTRY.
SCENE III. — AN APARTMENT AT THE COURT
ACT IV
SCENE I. — A ROOM IN DELIRO’S HOUSE.
SCENE II. — ANOTHER ROOM IN THE SAME.
SCENE III. — ANOTHER ROOM IN THE SAME.
SCENE IV. — PUNTARVOLO’S LODGINGS.
SCENE V. — A ROOM IN DELIRO’S HOUSE
SCENE VI. — PUNTARVOLO’S LODGINGS.
ACT V
SCENE I. — THE PALACE STAIRS.
SCENE II. — AN APARTMENT IN THE PALACE.
SCENE III. — THE PALACE STAIRS.
SCENE IV. — A ROOM AT THE MITRE.
SCENE V. — A ROOM IN DELIRO’S HOUSE.
SCENE VI. — A ROOM AT THE MITRE.
SCENE VII. — THE COUNTER.
THE EPILOGUE
GLOSSARY
Every Man out of His Humour
By
Ben Jonson
EVERY MAN OUT OF HIS HUMOUR
TO THE NOBLEST NURSERIES OF HUMANITY AND LIBERTY IN THE KINGDOM THE INNS OF COURT
I UNDERSTAND YOU, GENTLEMEN, NOT your houses: and a worthy succession of you, to all time, as being born the judges of these studies. When I wrote this poem, I had friendship with divers in your societies; who, as they were great names in learning, so they were no less examples of living. Of them, and then, that I say no more, it was not despised. Now that the printer, by a doubled charge, thinks it worthy a longer life than commonly the air of such things doth promise, I am careful to put it a servant to their pleasures, who are the inheritors of the first favour born it. Yet, I command it lie not in the way of your more noble and useful studies to the public: for so I shall suffer for it. But when the gown and cap is off, and the lord of liberty reigns, then, to take it in your hands, perhaps may make some bencher, tincted with humanity, read and not repent him.
By your true honourer,
BEN JONSON.
DRAMATIS PERSONAE
ASPER, the Presenter.
MACILENTE.
PUNTARVOLO, — his Lady. — Waiting Gent. — Huntsman. —
Servingmen. — Dog and Cat.
CARLO BUFFONE.
FASTIDIOUS BRISK, — Cinedo, his Page.
DELIRO, FALLACE, — Fido, their Servant. — Musicians.
SAVIOLINA.
SORDIDO. — His Hind.
FUNGOSO. — Tailor, Haberdasher, Shoemaker
SOGLIARDO.
SHIFT. — Rustics.
NOTARY.
CLOVE, ORANGE. — A Groom. — Drawers. — Constable, and Officers.
GREX. — CORDATUS — MITIS.
THE CHARACTERS OF THE PERSONS
ASPER, HE IS OF AN ingenious and free spirit, eager and constant in reproof, without fear controlling the world’s abuses. One whom no servile hope of gain, or frosty apprehension of danger, can make to be a parasite, either to time, place, or opinion.
MACILENTE, a man well parted, a sufficient scholar, and travail’d; who, wanting that place in the world’s account which he thinks his merit capable of, falls into such an envious apoplexy, with which his judgment is so dazzled and distasted, that he grows violently impatient of any opposite happiness in another.
PUNTARVOLO, a vain-glorious knight, over-englishing his travels, and wholly consecrated to singularity; the very Jacob’s staff of compliment; a sir that hath lived to see the revolution of time in most of his apparel. Of presence good enough, but so palpably affected to his own praise, that for want of flatterers he commends himself, to the floutage of his own family. He deals upon returns, and strange performances, resolving, in despite of public derision, to stick to his own fashion, phrase, and gesture.
CARLO BUFFONE, a public, scurrilous, and profane jester, that more swift than Circe, with absurd similes, will transform any person into deformity. A good feast-hound or banquet-beagle, that will scent you out a supper some three miles off, and swear to his patrons, damn him! he came in oars, when he was but wafted over in a sculler. A slave that hath an extraordinary gift in pleasing his palate, and will swill up more sack at a sitting than would make all the guard a posset. His religion is railing, and his discourse ribaldry.
FASTIDIOUS BRISK, a neat, spruce, affecting courtier, one that wears clothes well, and in fashion; practiseth by his glass how to salute; speaks good remnants, notwithstanding the base viol and tobacco; swears tersely and with variety; cares not what lady’s favour he belies, or great man’s familiarity: a good property to perfume the boot of a coach. He will borrow another man’s horse to praise, and backs him as his own. Or, for a need, on foot can post himself into credit with his merchant, only with the gingle of his spur, and the jerk of his wand.
DELIRO, a good doting citizen, who, it is thought, might be of the common-council for his wealth; a fellow sincerely besotted on his own wife, and so wrapt with a conceit of her perfections, that he simply holds himself unworthy of her. And, in that hood-wink’d humour, lives more like a suitor than a husband; standing in as true dread of her displeasure, as when he first made love to her. He doth sacrifice two-pence in juniper to her every morning before she rises, and wakes her with villainous-out-of-tune music, which she out of her contempt (though not out of her judgment) is sure to dislike.
FALLACE, Deliro’s wife, and idol; a proud mincing peat, and as perverse as he is officious. She dotes as perfectly upon the courtier, as her husband doth on her, and only wants the face to be dishonest.
SAVIOLINA, a court-lady, whose weightiest praise is a light wit, admired by herself, and one more, her servant Brisk.
SORDIDO, a wretched hob-nailed chuff, whose recreation is reading of almanacks; and felicity, foul weather. One that never pray’d but for a lean dearth, and ever wept in a fat harvest.
FUNGOSO, the son of Sordido, and a student; one that has revelled in his time, and follows the fashion afar off, like a spy. He makes it the whole bent of his endeavours to wring sufficient means from his wretched father, to put him in the courtiers’ cut; at which he earnestly aims, but so unluckily, that he still lights short a suit.
SOGLIARDO, an essential clown, brother to Sordido, yet so enamoured of the name of a gentleman, that he will have it, though he buys it. He comes up every term to learn to take tobacco, and see new motions. He is in his kingdom when in company where he may be well laughed at.
SHIFT, a thread-bare shark; one that never was a soldier, yet lives upon lendings. His profession is skeldring and odling, his bank Paul’s, and his warehouse Picthatch. Takes up single testons upon oaths, till doomsday. Falls under executions of three shillings, and enters into five-groat bonds. He way-lays the reports of services, and cons them without book, damning himself he came new from them, when all the while he was taking the diet in the bawdy-house, or lay pawned in his chamber for rent and victuals. He is of that admirable and happy memory, that he will salute one for an old acquaintance that he never saw in his life before. He usurps upon cheats, quarrels, and robberies, which he never did, only to get him a name. His chief exercises are, taking the whiff, squiring a cockatrice, and making privy searches for imparters.
CLOVE and ORANGE, an inseparable case of coxcombs, city born; the Gemini, or twins of foppery; that like a pair of wooden foils, are fit for nothing but to be practised upon. Being well flattered they’ll lend money, and repent when they have done. Their glory is to invite players, and make suppers. And in company of better rank, to avoid the suspect of insufficiency, will inforce their ignorance most desperately, to set upon the understanding of any thing. Orange is the most humorous of the two, (whose small portion of juice being squeezed out,) Clove serves to stick him with commendations.
CORDATUS, the author’s friend; a man inly acquainted with the scope and drift of his plot; of a discreet and understanding judgment; and has the place of a moderator.
MITIS, is a person of no action, and therefore we afford him no character.
THE STAGE. After the second sounding.
ENTER CORDATUS, ASPER, AND MITIS.
COR. Nay, my dear Asper.
MIT. Stay your mind.
ASP. Away!
Who is so patient of this impious world,
That he can check his spirit, or rein his tongue?
Or who hath such a dead unfeeling sense,
That heaven’s horrid thunders cannot wake?
To see the earth crack’d with the weight of sin,
Hell gaping under us, and o’er our heads
Black, ravenous ruin, with her sail-stretch’d wings,
Ready to sink us down, and cover us.
Who can behold such prodigies as these,
And have his lips seal’d up? Not I: my soul
Was never ground into such oily colours,
To flatter vice, and daub iniquity:
But, with an armed and resolved hand,
I’ll strip the ragged follies of the time
Naked as at their birth —
COR. Be not too bold.
ASP. You trouble me — and with a whip of steel,
Print wounding lashes in their iron ribs.
I fear no mood stamp’d in a private brow,
When I am pleased t’unmask a public vice.
I fear no strumpet’s drugs, nor ruffian’s stab,
Should I detect their hateful luxuries:
No broker’s usurer’s, or lawyer’s gripe,
Were I disposed to say, they are all corrupt.
I fear no courtier’s frown, should I applaud
The easy flexure of his supple hams.
Tut, these are so innate and popular,
That drunken custom would not shame to laugh,
In scorn, at him, that should but dare to tax ‘em:
And yet, not one of these, but knows his works,
Knows what damnation is, the devil, and hell;
Yet hourly they persist, grow rank in sin,
Puffing their souls away in perjurous air,
To cherish their extortion, pride, or lusts.
MIT. Forbear, good Asper; be not like your name.
ASP. O, but to such whose faces are all zeal,
And, with the words of Hercules, invade
Such crimes as these! that will not smell of sin,
But seem as they were made of sanctity!
Religion in their garments, and their hair
Cut shorter than their eye-brows! when the conscience
Is vaster than the ocean, and devours
More wretches than the counters.
MIT. Gentle Asper,
Contain our spirits in more stricter bounds,
And be not thus transported with the violence
Of your strong thoughts.
COX. Unless your breath had power,
To melt the world, and mould it new again,
It is in vain to spend it in these moods.
ASP. [TURNING TO THE STAGE.]
I not observed this thronged round till now!
Gracious and kind spectators, you are welcome;
Apollo and Muses feast your eyes
With graceful objects, and may our Minerva
Answer your hopes, unto their largest strain!
Yet here mistake me not, judicious friends;
I do not this, to beg your patience,
Or servilely to fawn on your applause,
Like some dry brain, despairing in his merit.
Let me be censured by the austerest brow,
Where I want art or judgment, tax me freely.
Let envious censors, with their broadest eyes,
Look through and through me, I pursue no favour;
Only vouchsafe me your attentions,
And I will give you music worth your ears.
O, how I hate the monstrousness of time,
Where every servile imitating spirit,
Plagued with an itching leprosy of wit,
In a mere halting fury, strives to fling
His ulcerous body in the Thespian spring,
And straight leaps forth a poet! but as lame
As Vulcan, or the founder of Cripplegate.
MIT. In faith this humour will come ill to some,
You will be thought to be too peremptory.
ASP. This humour? good! and why this humour, Mitis?
Nay, do not turn, but answer.
MIT. Answer, what?
ASP. I will not stir your patience, pardon me,
I urged it for some reasons, and the rather
To give these ignorant well-spoken days
Some taste of their abuse of this word humour.
COR. O, do not let your purpose fall, good Asper;
It cannot but arrive most acceptable,
Chiefly to such as have the happiness
Daily to see how the poor innocent word
Is rack’d and tortured.
MIT. Ay, I pray you proceed.
ASP. Ha, what? what is’t?
COR. For the abuse of humour.
ASP. O, I crave pardon, I had lost my thoughts.
Why humour, as ‘tis ‘ens’, we thus define it,
To be a quality of air, or water,
And in itself holds these two properties,
Moisture and fluxure: as, for demonstration,
Pour water on this floor, ‘twill wet and run:
Likewise the air, forced through a horn or trumpet,
Flows instantly away, and leaves behind
A kind of dew; and hence we do conclude,
That whatsoe’er hath fluxure and humidity,
As wanting power to contain itself,
Is humour. So in every human body,
The choler, melancholy, phlegm, and blood,
By reason that they flow continually
In some one part, and are not continent,
Receive the name of humours. Now thus far
It may, by metaphor, apply itself
Unto the general disposition:
As when some one peculiar quality
Doth so possess a man, that it doth draw
All his affects, his spirits, and his powers,
In their confluctions, all to run one way,
This may be truly said to be a humour
But that a rook, by wearing a pyed feather,
The cable hat-band, or the three-piled ruff,
A yard of shoe-tye, or the Switzer’s knot
On his French garters, should affect a humour!
O, it is more than most ridiculous.
COR. He speaks pure truth; now if an idiot
Have but an apish or fantastic strain,
It is his humour.
ASP. Well, I will scourge those apes,
And to these courteous eyes oppose a mirror,
As large as is the stage whereon we act;
Where they shall see the time’s deformity
Anatomised in every nerve, and sinew,
With constant courage, and contempt of fear.
MIT. Asper, (I urge it as your friend,) take heed,
The days are dangerous, full of exception,
And men are grown impatient of reproof.
ASP. Ha, ha!
You might as well have told me, yond’ is heaven,
This earth, these men, and all had moved alike. —
Do not I know the time’s condition?
Yes, Mitis, and their souls; and who they be
That either will or can except against me.
None but a sort of fools, so sick in taste,
That they contemn all physic of the mind,
And like gall’d camels, kick at every touch.
Good men, and virtuous spirits, that loath their vices,
Will cherish my free labours, love my lines,
And with the fervour of their shining grace
Make my brain fruitful, to bring forth more objects,
Worthy their serious and intentive eyes.
But why enforce I this? as fainting? no.
If any here chance to behold himself,
Let him not dare to challenge me of wrong;
For, if he shame to have his follies known,
First he should shame to act ‘em: my strict hand
Was made to seize on vice, and with a gripe
Squeeze out the humour of such spongy souls,
As lick up every idle vanity.
COR. Why, this is right furor poeticus!
Kind gentlemen, we hope your patience
Will yet conceive the best, or entertain
This supposition, that a madman speaks.
ASP. What, are you ready there? Mitis, sit down,
And my Cordatus. Sound ho! and begin.
I leave you two, as censors, to sit here:
Observe what I present, and liberally
Speak your opinions upon every scene,
As it shall pass the view of these spectators.
Nay, now y’are tedious, sirs; for shame begin.
And, Mitis, note me; if in all this front
You can espy a gallant of this mark,
Who, to be thought one of the judicious,
Sits with his arms thus wreath’d, his hat pull’d here,
Cries mew, and nods, then shakes his empty head,
Will shew more several motions in his face
Than the new London, Rome, or Niniveh,
And, now and then, breaks a dry biscuit jest,
Which, that it may more easily be chew’d,
He steeps in his own laughter.
COR. Why, will that
Make it be sooner swallowed?
ASP. O, assure you.
Or if it did not, yet as Horace sings,
Mean cates are welcome still to hungry guests.
COR. ‘Tis true; but why should we observe them, Asper?
ASP. O, I would know ‘em; for in such assemblies
They are more infectious than the pestilence:
And therefore I would give them pills to purge,
And make them fit for fair societies.
How monstrous and detested is’t to see
A fellow that has neither art nor brain,
Sit like an Aristarchus, or start ass,
Taking men’s lines with a tobacco face,
In snuff still spitting, using his wry’d looks,
In nature of a vice, to wrest and turn
The good aspect of those that shall sit near him,
From what they do behold! O, ‘tis most vile.
MIT. Nay, Asper.
ASP. Peace, Mitis, I do know your thought;
You’ll say, your guests here will except at this:
Pish! you are too timorous, and full of doubt.
Then he, a patient, shall reject all physic,
‘Cause the physician tells him, you are sick:
Or, if I say, that he is vicious,
You will not hear of virtue. Come, you are fond.
Shall I be so extravagant, to think,
That happy judgments, and composed spirits,
Will challenge me for taxing such as these?
I am ashamed.
COR. Nay, but good, pardon us;
We must not bear this peremptory sail,
But use our best endeavours how to please.
ASP. Why, therein I commend your careful thoughts,
And I will mix with you in industry
To please: but whom? attentive auditors,
Such as will join their profit with their pleasure,
And come to feed their understanding parts:
For these I’ll prodigally spread myself,
And speak away my spirit into air;
For these, I’ll melt my brain into invention,
Coin new conceits, and hang my richest words
As polish’d jewels in their bounteous ears?
But stay, I lose myself, and wrong their patience:
If I dwell here, they’ll not begin, I see.
Friends, sit you still, and entertain this troop
With some familiar and by-conference,
I’ll hast them sound. Now, gentlemen, I go
To turn an actor, and a humorist,
Where, ere I do resume my present person,
We hope to make the circles of your eyes
Flow with distilled laughter: if we fail,
We must impute it to this only chance,
Art hath an enemy call’d ignorance.
[EXIT.
COR. How do you like his spirit, Mitis?
MIT. I should like it much better, if he were less confident.
COR. Why, do you suspect his merit?
MIT. No; but I fear this will procure him much envy.
COR. O, that sets the stronger seal on his desert: if he had no enemies,
I should esteem his fortunes most wretched at this instant.
MIT. You have seen his play, Cordatus: pray you, how is it?
COR. Faith, sir, I must refrain to judge; only this I can say of it, ‘tis
strange, and of a particular kind by itself, somewhat like ‘Vetus
Comoedia’; a work that hath bounteously pleased me; how it will answer the
general expectation, I know not.
MIT. Does he observe all the laws of comedy in it?
COR. What laws mean you?
MIT. Why, the equal division of it into acts and scenes, according to the
Terentian manner; his true number of actors; the furnishing of the scene
with Grex or Chorus, and that the whole argument fall within compass of a
day’s business.
COR. O no, these are too nice observations.
MIT. They are such as must be received, by your favour, or it cannot be
authentic.
COR. Troth, I can discern no such necessity.
MIT. No!
COR. No, I assure you, signior. If those laws you speak of had been
delivered us ‘ab initio’, and in their present virtue and perfection, there
had been some reason of obeying their powers; but ‘tis extant, that that
which we call ‘Comoedia’, was at first nothing but a simple and continued
song, sung by one only person, till Susario invented a second; after him,
Epicharmus a third; Phormus and Chionides devised to have four actors, with
a prologue and chorus; to which Cratinus, long after, added a fifth and
sixth: Eupolis, more; Aristophanes, more than they; every man in the
dignity of his spirit and judgment supplied something. And, though that in
him this kind of poem appeared absolute, and fully perfect, yet how is the
face of it changed since, in Menander, Philemon, Cecilius, Plautus, and the
rest! who have utterly excluded the chorus, altered the property of the
persons, their names, and natures, and augmented it with all liberty,
according to the elegancy and disposition of those times wherein they
wrote. I see not then, but we should enjoy the same license, or free power
to illustrate and heighten our invention, as they did; and not be tied to
those strict and regular forms which the niceness of a few, who are nothing
but form, would thrust upon us.
MIT. Well, we will not dispute of this now; but what’s his scene?
COR. Marry, ‘Insula Fortunata’, sir.
MIT. O, the Fortunate Island: mass, he has bound himself to a strict law
there.
COR. Why so?
MIT. He cannot lightly alter the scene, without crossing the seas.
COR. He needs not, having a whole island to run through, I think.
MIT. No! how comes it then, that in some one play we see so many seas,
countries, and kingdoms, passed over with such admirable dexterity?
COR. O, that but shews how well the authors can travel in their vocation,
and outrun the apprehension of their auditory. But, leaving this, I would
they would begin at once: this protraction is able to sour the
best-settled patience in the theatre.
[THE THIRD SOUNDING.
MIT. They have answered your wish, sir; they sound.
COR. O, here comes the Prologue.
[ENTER PROLOGUE.
Now, sir, if you had staid a little longer, I meant to have spoke your
prologue for you i’faith.
PROL. Marry, with all my heart, sir, you shall do it yet, and I thank you.
[GOING.
COR. Nay, nay, stay, stay; hear you?
PROL. You could not have studied to have done me a greater benefit at the
instant; for I protest to you, I am unperfect, and, had I spoke it, I must
of necessity have been out.
COR. Why, but do you speak this seriously?
PROL. Seriously! ay, wit’s my help, do I; and esteem myself indebted to
your kindness for it.
COR. For what?
PROL. Why, for undertaking the prologue for me.
COR. How! did I undertake it for you?
PROL. Did you! I appeal to all these gentlemen, whether you did or no.
Come, come, it pleases you to cast a strange look on’t now; but ‘twill not
serve.
COR. ‘Fore me, but it must serve; and therefore speak your prologue.
PROL. An I do, let me die poisoned with some venomous hiss, and never live
to look as high as the two-penny room again.
[EXIT.
MIT. He has put you to it, sir.
COR. ‘Sdeath, what a humorous fellow is this! Gentlemen, good faith I can
speak no prologue, howsoever his weak wit has had the fortune to make this
strong use of me here before you: but I protest —
[ENTER CARLO BUFFONE, FOLLOWED BY A BOY WITH WINE.
CAR. Come, come, leave these fustian protestations; away, come, I cannot
abide these grey-headed ceremonies. Boy, fetch me a glass quickly, I may
bid these gentlemen welcome; give them a health here. [EXIT BOY.] I
mar’le whose wit it was to put a prologue in yond’ sackbut’s mouth; they
might well think he’d be out of tune, and yet you’d play upon him too.
COR. Hang him, dull block!
CAR. O, good words, good words; a well-timber’d fellow, he would have made
a good column, an he had been thought on, when the house was a building —
[RE-ENTER BOY WITH GLASSES..
O, art thou come? Well said; give me, boy; fill so! Here’s a cup of wine
sparkles like a diamond. Gentlewomen (I am sworn to put them in first) and
gentlemen, around, in place of a bad prologue, I drink this good draught to
your health here, Canary, the very elixir and spirit of wine. [DRINKS.]
This is that our poet calls Castalian liquor, when he comes abroad now and
then, once in a fortnight, and makes a good meal among players, where he
has ‘caninum appetitum’; marry, at home he keeps a good philosophical diet,
beans and butter-milk; an honest pure rogue, he will take you off three,
four, five of these, one after another, and look villainously when he has
done, like a one-headed Cerberus. — He does not hear me, I hope. — And
then, when his belly is well ballaced, and his brain rigged a little, he
snails away withal, as though he would work wonders when he comes home. He
has made a play here, and he calls it, ‘Every Man out of his Humour’: but
an he get me out of the humour he has put me in, I’ll trust none of his
tribe again while I live. Gentles, all I can say for him is, you are
welcome. I could wish my bottle here amongst you; but there’s an old rule,
No pledging your own health. Marry, if any here be thirsty for it, their
best way (that I know) is, sit still, seal up their lips, and drink so much
of the play in at their ears.
[EXIT.
MIT. What may this fellow be, Cordatus?
COR. Faith, if the time will suffer his description, I’ll give it you. He
is one, the author calls him Carlo Buffone, an impudent common jester, a
violent railer, and an incomprehensible epicure; one whose company is
desired of all men, but beloved of none; he will sooner lose his soul than
a jest, and profane even the most holy things, to excite laughter: no
honourable or reverend personage whatsoever can come within the reach of
his eye, but is turned into all manner of variety, by his adulterate
similes.
MIT. You paint forth a monster.
COR. He will prefer all countries before his native, and thinks he can
never sufficiently, or with admiration enough, deliver his affectionate
conceit of foreign atheistical policies. But stay —
[ENTER MACILENTE.
Observe these: he’ll appear himself anon.
MIT. O, this is your envious man, Macilente, I think.
COR. The same, sir.
ACT I
SCENE I. — THE COUNTRY.
ENTER MACILENTE, WITH A BOOK.
MACI. “Viri est, fortunae caecitatem facile ferre.”
‘Tis true; but, Stoic, where, in the vast world,
Doth that man breathe, that can so much command
His blood and his affection? Well, I see
I strive in vain to cure my wounded soul;
For every cordial that my thoughts apply
Turns to a corsive and doth eat it farther.
There is no taste in this philosophy;
‘Tis like a potion that a man should drink,
But turns his stomach with the sight of it.
I am no such pill’d Cynick to believe,
That beggary is the only happiness;
Or with a number of these patient fools,
To sing: “My mind to me a kingdom is,”
When the lank hungry belly barks for food,
I look into the world, and there I meet
With objects, that do strike my blood-shot eyes
Into my brain: where, when I view myself,
Having before observ’d this man is great,
Mighty and fear’d; that lov’d and highly favour’d:
A third thought wise and learn’d; a fourth rich,
And therefore honour’d; a fifth rarely featur’d;
A sixth admired for his nuptial fortunes:
When I see these, I say, and view myself,
I wish the organs of my sight were crack’d;
And that the engine of my grief could cast
Mine eyeballs, like two globes of wildfire, forth,
To melt this unproportion’d frame of nature.
Oh, they are thoughts that have transfix’d my heart,
And often, in the strength of apprehension,
Made my cold passion stand upon my face,
Like drops of dew on a stiff cake of ice.
COR. This alludes well to that of the poet,
“Invidus suspirat, gemit, incutitque dentes,
Sudat frigidus, intuens quod odit.”
MIT. O, peace, you break the scene.
[ENTER SOGLIARDO AND CARLO BUFFONE.
MACI. Soft, who be these?
I’ll lay me down awhile till they be past.
[LIES DOWN.
CAR. Signior, note this gallant, I pray you.
MIT. What is he?
CAR. A tame rook, you’ll take him presently; list.
SOG. Nay, look you, Carlo; this is my humour now! I have land and money,
my friends left me well, and I will be a gentleman whatsoever it cost me.
CAR. A most gentlemanlike resolution.
SOG. Tut! an I take an humour of a thing once, I am like your tailor’s
needle, I go through: but, for my name, signior, how think you? will it
not serve for a gentleman’s name, when the signior is put to it, ha?
CAR. Let me hear; how is it?
SOG. Signior Insulso Sogliardo: methinks it sounds well.
