Félix Lope de Vega y Carpio, Comedia famosa de Don Lope de Cardona

James Shirley, The Young Admiral





Texto utilizado para esta edición digital:
Shirley, James. The Young Admiral. Edited by Ana Albalat Mascarell for the EMOTHE collection. 2015.
Marcación digital para Artelope:
  • Albalat Mascarell, Ana

Introducción

Qué mejor comienzo que presentar este trabajo anunciando que, tras varios meses de esforzado estudio, cotejo de variantes e investigación bibliotextual, (n. 1) lo que se ofrece en estas páginas corresponde a una edición crítica, con grafía y puntuación modernizadas, del texto dramático de The Young Admiral, obra del poeta inglés James Shirley (Londres, 1595 - 1666), a partir de la primera y única edición impresa de la misma, una publicación in Quarto de 1637.

Sin embargo, a la hora de exponer los planteamientos iniciales de que parte la presente labor ecdótica no podemos sino preguntarnos, en primer lugar, una cuestión fundamental que pasa a menudo inadvertida para el lector no familiarizado con este ámbito. Ya lo apunta G. Thomas Tanselle, con eminente intuición metódica y sentido pragmático, en «The Varieties of Scholarly Editing»: si entendemos la práctica editorial como el arte de reproducir o alterar textos, bien deberíamos comenzar por identificar y establecer cuál nuestra motivación fundamental para afrontar dicha actividad filológica. ¿Abordamos el texto partiendo, en términos generales, de una «nonhistorical approach» (Tanselle 1995: 10) o perspectiva centrada no en el pasado, ni en las intenciones del autor, sino únicamente en la respuesta del lector como criterio referencial, tal y como propugnaban algunos movimientos críticos cercanos a las teorías funcionalistas y deconstructivas que irrumpieron con fuerza a partir de la segunda mitad del siglo XX? (n. 2)

No es éste el enfoque adoptado en esta labor de edición, al menos no completamente. Coincidimos con John Jowett a la hora de afirmar que las enmiendas a las cuestiones que corresponden a la presentación meramente formal del texto o accidentals – siguiendo la terminología acuñada por W. W. Greg en su fundamental ensayo «The Rationale of Copy-Text», que abarca bajo el paraguas de dicha denominación tales aspectos cuales grafía, puntuación, abreviaturas en réplicas, división lineal de los parlamentos, etc. – pueden realizarse con mayor libertad con el objeto de amoldarse a lo que él mismo señala como «the interests of the reader» (Jowett 2007: 113). Distinto método y estrategias hemos empleado, sin embargo, en relación a aquellas lecciones significativas o substantives que, según indica su propio nombre, remiten al sentido original del texto pensado por su autor: «the significant readings of the text, those namely that affect the author's meaning or the essence of his expression» (Greg 1950: 21).

Aquí encontramos la clave para entender mejor a Jowett cuando sostiene que las variantes significativas de cualquier texto garantizan cierta integridad «in terms of their origin» (ib.: 114), motivo por el cual concluye aduciendo que, frente al intrincado entramado de orientaciones teóricas, con recurrentes lagunas prácticas, que ha caracterizado el pasado siglo por lo que a la crítica bibliotextual se refiere (bajo la órbita, siempre presente, de las contribuciones de A.W. Pollard, el mismo Greg o R.B. McKerrow – todos ellos nombres fundamentales de lo que se ha dado en llamar la escuela New Bibliography – al desarrollo de dicho ámbito de estudio), (n. 3) una solución podría consistir en la productiva síntesis de las citadas corrientes de pensamiento pragmático o ahistoricista, frecuentemente enfocadas en las necesidades del lector de la obra editada, junto con la aún operativa distinción de Greg entre lecciones sustantivas y accidentales forjada en torno a la cuestión, sin duda histórica, de la intención del autor. (n. 4)

La presente edición parte de estos fundamentos teóricos y metodológicos a la hora de proporcionar un texto cuyo contenido quede, por una parte, plenamente actualizado en relación a las competencias del destinatario al tiempo que, por otra, se oriente necesariamente hacia un interés histórico en reconstruir el original de acuerdo con los propósitos de su autor. Así, pues, hemos preparado un texto modernizado, según adelantábamos anteriormente, en lo que concierne a la grafía y demás aspectos accidentales antes expresados mas no, como podría esperarse, en lo referente a la gramática ni al vocabulario, ni tampoco en cuanto al tratamiento de algunas formas arcaicas, apóstrofes y contracciones que afectan a la métrica y pronunciación del verso.

Del mismo modo, hemos efectuado enmiendas a lecciones significativas solamente en aquellos casos en los que se han detectado errores evidentes de carácter tipográfico, gramatical, léxico, o de acuerdo con el contexto en que podían hallarse las partes enmendadas. Ello por lo que respecta al texto de los parlamentos puesto que, remiténdonos nuevamente a Jowett, «stage directions might profitably be positioned alongside spelling and punctuation as aspects of the text that an editor might approach from an user-oriented perspective» (ib.: 114), razón por la que estos segmentos muestran un mayor grado de intervención editorial que los fragmentos dialogados.

Todas estas desviaciones respecto del texto base del in Quarto de 1637 se recogen en un Apéndice Textual o aparato crítico que acompaña al texto de nuestra edición. Queremos advertir, sin embargo, que dicho aparato pretende dar cuenta no solamente de los momentos en los que el presente texto se aleja del impreso en el segundo tercio del s. XVII sino también, y muy especialmente, de aquellos casos en los que se desvía de las dos únicas ediciones modernas posteriores: citadas a continuación, de hecho, en esta introducción y cuyas enmiendas aparecen acreditadas a sus respectivos autores en todo momento. Se propone, por tanto, servir de edición variorum al incorporar una relación exhaustiva de todas las variantes y enmiendas conocidas en lo que concierne al texto que presentamos, de manera que el lector pueda reconstruir tanto el original como las ediciones modernas consultadas sustituyendo las lecciones que aquí ofrecemos.

Lo novedoso del trabajo que aportamos en estas páginas radica, precisamente, en el hecho de constituir la primera y única edición con grafía modernizada de la pieza de Shirley presentada, al margen de la encomiable tarea de modernización de The Young Admiral emprendida por los editores William Gifford y Alexander Dyce en el primer tercio del siglo XIX (n. 5) pero que, en razón justamente de sus coordenadas histórico-temporales, encuentra su práctica ecdótica irresolublemente sujeta todavía a la rigidez ortográfica vigente en su época: «The more formal punctuation employed by nineteenth-century editors» (Best 2014: 4.4.3).

Otra cuestión innovadora concierne, asimismo, a la fiabilidad, rigor y exhaustividad del aparato crítico ya descrito: bien distinto, en su afán de condensación de todas las variantes textuales aparecidas hasta la fecha de esta edición, en efecto, del género de anotación desarrollado por la edición old-spelling de The Young Admiral realizada por Kenneth E. Ericksen a finales de los setenta del pasado siglo. (n. 6) Por lo que a este apartado se refiere, hemos optado por considerar la propuesta, a nuestro juicio excelente, ya esbozada por el New Bibliographer McKerrow en su Prolegomena cuando, de hecho, aboga firmemente por consultar otras ediciones «in a few particularly difficult or notable passages in which it seems interesting to have a record of the readings of as many as posible of the important editions» (McKerrow 1939-69). (n. 7)

Por último, el tercer punto de inflexión interesante, a nuestro entender, con respecto a trabajos editoriales y de crítica anteriores al presente texto estriba en, por así decirlo, su vertiente electrónica. Efectivamente, enmarcada en el proyecto PATRIMONIO TEATRAL CLÁSICO ESPAÑOL. TEXTOS E INSTRUMENTOS DE INVESTIGACIÓN, con el patrocinio del programa CONSOLIDER-INGENIO 2010 del Plan Nacional I+D+i, dirigido por el Dr. Joan Oleza Simó, y cuya entidad de gestión es la Universidad de Valencia, la base de datos ‘EMOTHE’ (acrónimo de Early Modern European Theatre) desarrolla la edición hipertextual e hipermedia de obras seleccionadas de las tradiciones dramáticas española, inglesa, italiana y francesa de esta época, y las publica en la red en acceso abierto; y es, precisamente, a esta plataforma virtual adonde se incorporará el texto que aquí presentamos una vez editado digitalmente, vinculado a posibles versiones y traducciones en otras lenguas europeas, y completado tanto por documentación audiovisual de interés como por el aparato crítico y las secciones de introducción textual contenidas en estas páginas.

Retomando la fundamental cuestión en torno a la orientación eminentemente histórica de que partíamos al comienzo de este apartado, no podemos concluir sin advertir previamente al destinatario de esta edición de que, amén de la rigurosa tarea de modernización, anotación y examen crítico del texto dramático que se le presenta, encontrará alineado al mismo una trascripción diplomática completa del original. Para la elaboración de esta transcripción, hemos tomado la que publica en formato electrónico la Chadwyck-Healey Verse Drama Collection (n. 8) y la hemos cotejado – letra por letra y espacio por espacio – con el facsímil disponible en la base de datos ‘EEBO’ (Early English Books Online) (n. 9) que reproduce el ejemplar de la Universidad de Michigan de la primera edición impresa de la obra, de manera que la versión literal que aquí ofrecemos contenga con absoluta fiabilidad y rigor crítico todos los errores y variantes comprendidos en el texto base del que parte este trabajo.

TRANSMISIÓN DEL TEXTO: THE YOUNG ADMIRAL

Registrada el 13 de abril de 1637 por los editores Andrew Crooke y William Cooke entre las obras que no habían sido previamente asignadas a otros libreros o impresores, The Young Admiral es una pieza que depara, en un primer momento, escasas satisfacciones a los críticos textuales. No existen, como en el caso de algunos clásicos shakesperianos (Hamlet, King Lear, Othello, Troius and Cressida), dos o más ediciones diversas entre sí que puedan confrontarse para decidir cuál es la más fiel a las intenciones del autor, o cuál recoge modificaciones incorporadas al texto por él mismo o debido a circunstancias externas, a intervenciones de un actor, censor, o a correcciones de un copista o tipógrafo. La primera y única edición impresa de The Young Admiral se publicó, según avanzábamos antes, por vez primera en 1637, en uno de los llamados volúmenes in Quarto. (n. 10)

De esta edición se han conservado varios ejemplares, hoy alojados en distintas bibliotecas. Ericksen cotejó doce de estos ejemplares y, en un apéndice final a su edición con grafía original de 1979, (n. 11) ofrece un listado con las variantes de impresión, resultantes de la corrección de pruebas de los pliegos y de no destruir los pliegos impresos no corregidos. (n. 12) Nuestro texto base es, como hemos mencionado antes, el ejemplar de la Universidad de Michigan (en realidad, su facsímil), que se corresponde con las variantes corregidas en todos sus pliegos excepto en el G (forma interna), en donde coincide con las formas no corregidas de los impresos conservados en la UCLA Clark Library, la Yale University Library y la University of Illinois Library citados por Ericksen:

4.2.31 Eboine] Ebonie

4.2.98 Captaine.] Captaine?

Conviene recordar al lector que la primera variante es, lógicamente, la lección no corregida que encontramos tanto en el texto base que sirve a esta edición como en los tres ejemplares mencionados, mientras que la variante que colocamos detrás del corchete es la forma corregida que podemos hallar en los impresos de la Henry E. Huntington Library y en los que se guardan por separado en la Folger Shakespeare Library, la Newberry Library (Chicago), la University of Chicago Library, la Boston Public Library, la Harvard University Library, la Pierpont Morgan Library (Nueva York) y la University of Texas Library, todos ellos mentados por Ericksen.

Por otra parte, entre las lecciones corregidas que rescatamos de la relación de notas aportada por Ericksen, destacamos las que atañen a un mínimo de tres ejemplares no corregidos:

Pliego B (forma interna)

1.1. 31 was't] wa't

54 Horatio's] Horato's

60 Mannage] Manuage

61 What?] What

62 overcome] ouercome

En estas notas, a diferencia de las anteriores, la variante que incluimos en primer lugar es la corregida que contienen todos los ejemplares (incluyendo nuestro texto base). La segunda es la forma incorrecta que puede verse en los textos de la University of Chicago Library, la Harvard University Library, la Pierpont Morgan Library (Nueva York) y la University of Texas Library.

Pliego B (forma externa)

1.1. 89 doe] dome

102 now?] now

Las formas no corregidas corresponden a los volúmenes de la University of Chicago Library, la Pierpont Morgan Library (Nueva York) y la University of Texas Library.

Pliego H (forma externa)

4.2. 137 Yare] Y'are

137 prisoner Iulio] prisoner-Iulio

139 heart] haste

4.3. 15 you] omitted.

25 whole] your

100 Didino] Iulio

Las lecciones incorrectas remiten a los ejemplares de la UCLA Clark Library, la Henry E. Huntington Library (uno de los dos que allí se conservan), la Folger Shakespeare Library, la Boston Public Library (exceptuando los de la la línea 137) y la Harvard University Library.

A diferencia de ediciones in Quarto de obras shakespearianas o de otros dramaturgos más relevantes, esta edición de The Young Admiral no cuenta —al menos no lo hemos encontrado— con un análisis bibliográfico del o los cajistas que intervinieron en la impresión del texto.

Esta edición in Quarto probablemente respondió a la voluntad de sus impresores de explotar el éxito en la escena de un espectáculo que tan solo cuatro años antes había recibido una excelente acogida por parte del público. Ello lo atestiguan las entusiastas palabras al respecto de Sir Henry Herbert, a la sazón Master of the Revels, el 19 de noviembre de 1633: «performed with applause before the King and Queen» (Adams [ed.] 1917: 53). Interesante resulta, además, el hecho de que Herbert declarase su admiración hacia el poeta desde el primer momento en que le concedió la licencia para la representación de esta pieza, el 3 de julio de ese mismo año, elogiándola como modelo a seguir para otros dramaturgos más en virtud de su convencionalismo moral que de sus peculiaridades artísticas: «The comedy called The Yonge Admirall, being free from oaths, prophaness, or obscennes (…) may serve for a patterne to other poetts (…). [They] will imitate the original for their own credit, and make such copies in this harmless way» (Adams 1917: 19).

Sea como fuere, de lo que no cabe duda es del hecho que The Young Admiral se representó con notable éxito varias veces ante un público predominantemente elitista y cercano a la corte real, muchas de ellas en el teatro privado de Drury Lane (como se indica en la portada del in Quarto de 1637), durante la década que precedió al cese de toda actividad dramática en Inglaterra, tras el estallido de la guerra civil en 1642. Este dato, junto con las características del original que expondremos a continuación, contribuye a dar fuerza a la hipótesis de que el manuscrito, hoy perdido, sobre el cual se imprimió el texto de Shirley podría ser una transcripción, realizada a propósito para esta edición, a partir del libreto o copia para la escena (prompt book) de la pieza.

¿Qué es lo que conduce a considerar prevalente esta hipótesis frente a otras, al margen del hecho evidente de que la impresión se produjo tras unos años de exitosa representación y sin olvidar, tampoco, que las compañías cedían muy pocas veces su propio y original prompt book a los impresores? (n. 13) Si atendemos a la clásica distinción textual establecida por Greg entre foul papers (apuntes de la mano del propio autor) y las copias, en buen estado, que se destinaban al teatro (prompt books), nos es difícil ver, para empezar, a un autógrafo de las características del primer modelo propuesto por Greg como fuente manuscrita a partir de la cual se imprimió The Young Admiral. En efecto, ciñéndonos a la descripción provista por Gary Taylor en su «General Introduction», «texts printed from such manuscripts [foul papers] usually contain an exceptional number of obvious errors apparently caused by the misreading of difficult handwriting» (Taylor 1987: 9). Otros rasgos propios de este tipo de documento serían los falsos comienzos y pasajes duplicados, las inserciones marginales o entre líneas, las frecuentes inconsistencias en la designación de personajes y las acotaciones escénicas descriptivas, redundantes y usualmente caracterizadas por la reiterada omisión de entradas necesarias para la acción de la obra.

Todos estos errores e inconsistencias que se le suponen a un impreso derivado de semejante hológrafo son ajenos, de hecho, al in Quarto de The Young Admiral. Como podemos ver en la transcripción diplomática que ofrecemos junto a nuestra edición, las acotaciones escénicas son breves, precisas y (contando escasas excepciones) no requieren para la acción de la obra más entradas de las que ya constan (mención aparte merecen los – [Aside] – y las indicaciones – [To] – para dirigirse a un personaje, que no se contemplan en las ediciones dramáticas de la época). Por otra parte, tanto la escritura como la puntuación del texto son excepcionalmente correctas: una eminente legibilidad que, sumándola a la uniformidad en la designación de personajes y a la calidad de las acotaciones, permiten alcanzar la conclusión de que nos hallamos ante un post-theatrical text a la manera expresada por Jowett (ib.: 103), (n. 14) quien así actualiza la polarizada visión de Greg en torno a la naturaleza de los manuscritos de los que parten los documentos que hoy conservamos.

Llegados a este punto, no nos abstenemos de recordar al lector de estas páginas que, como es lógico, dichas categorías binarias no son sino modelos teóricos que obedecen a la necesidad pragmática de orientar al editor moderno de textos dramáticos. No existe, en efecto, ningún manuscrito conservado que se ajuste completamente al estándar de Greg por lo que a los foul papers se refiere, pese al hecho evidente de que toda copia a limpio tuvo su antecedente en el borrador. Cada texto exhibe, naturalmente, unas características únicas e individuales que lo distinguen del resto y que pueden colocarlo en una cierta posición de ambigüedad respecto del simplismo de las clasificaciones anteriores.

La manifiesta complejidad del proceso de transmisión desde el manuscrito perdido hasta el documento impreso, derivado de él, con el que el estudioso debe trabajar condujo, de hecho, a Fredson Bowers a ampliar el número de categorías hasta trece. (n. 15) Por su parte, Paul Werstine halló en los prompt books que nos han llegado hasta hoy algunas de las características que Greg atribuye a los borradores autorales: este hecho, junto con la falta de pruebas materiales en lo que respecta a los foul papers, entre otras lagunas prácticas, fue decisorio para el desarrollo de las teorías revisionistas que trataron de desmontar la solidez de los postulados teóricos de los New Bibliographers sostenidos hasta la fecha. (n. 16) En el presente trabajo, sin embargo, ha prevalecido la intuición de que dichas categorizaciones pueden, pese a sus fallos e inconsistencias, contribuir a una mejor aproximación del editor a su material de estudio, y es ésta la base sobre la que hemos desarrollado nuestro método de edición y examen crítico de The Young Admiral.

ESTA EDICIÓN

La presente edición toma como guía de estilo para la modernización de la grafía y puntuación de The Young Admiral la que ofrece el equipo ‘ISE’ (acrónimo de Internet Shakespeare Editions), dentro de su apartado correspondiente en el sitio web de la Universidad de Victoria (Canadá), bajo la dirección de Michael Best. Originariamente pensadas para la edición de clásicos shakesperianos, estas pautas pueden servir de orientación para cualquier trabajo editorial relacionado con textos dramáticos ingleses del período. Son las adoptadas, de hecho, por las incipientes colecciones de obras no shakespearianas Digital Renaissance Editions, (n. 17) Queen's Men Editions (n. 18) y las incluidas en EMOTHE, siendo esta última, como ya hemos comentado, a la que se destinará nuestro texto una vez adaptado al soporte digital.

El texto base del in Quarto consta de división en actos, mas no en escenas. Se ha incorporado la división habitual de la obra en actos y escenas practicada por las ediciones modernas consultadas (Gifford-Dyce, Ericksen), adoptando la convención inglesa que equipara los cambios de escena al momento de salida de todos los personajes presentes en el escenario. Dichos cambios, al igual que el resto de inserciones editoriales por lo que al texto de las acotaciones escénicas se refiere, aparecen señalados entre corchetes, como en 1[.1] o en [1.2] Enter Vittori, Mauritio, Captain and Soldiers[,with ensigns displayed].

A diferencia de la edición anterior con grafía modernizada de Gifford-Dyce, esta edición no incorpora topónimos en las acotaciones al comienzo de cada escena. Sin embargo, tanto las notas textuales como las de comentario recogen estas adiciones sustantivas para el lector interesado en reconstruir el contenido de las mismas:

4.1 Location Rosinda's tent in the Sicilian camp (Gifford-Dyce)

0 Enter] Q, Ericksen; The Sicilian camp. Rosinda's Tent./ Enter | Gifford-Dyce

En lo posible, hemos situado las acotaciones en una línea centrada y separada del diálogo de los personajes (muchas de las entradas en el Q original se sitúan en el margen derecho de los parlamentos, rasgo común a los post-theatrical texts ya mencionados). (n. 19) Aparecen seguidas de punto en la medida en que conforman una oración con predicado completo, como en 1.2.68 [Lifts her veil.], en contraste con los apartes – [Aside] – y las indicaciones – [To Cassandra] – para dirigirse a un personaje. Como explicábamos en el apartado anterior, estos dos tipos de acotación no se contemplan en las ediciones dramáticas del momento, por lo que su presencia en este texto es decisión de la presente edición teniendo en cuenta, eso sí, algunas aportaciones anteriores de las ediciones modernas de Gifford-Dyce y Ericksen.

Tanto en las acotaciones escénicas como en las réplicas se han regularizado los nombres de los personajes. Así, Julio y Mauritio son regularizaciones de Iulio y Mauricion/Mauricio, formas que encontramos en todo el Q: la primera, Iulio, aparece en casi toda la obra; las otras formas se localizan a partir de la segunda escena del primer acto (SD 1.2 Enter Vittori, Mauricion, Captaine and Souldiers; 1.2.129 Mauricio didst heare this?), y también en el tercer acto (3.2.1 I dare not come neere him, Captaine Mauricio). Por otra parte, en lo que respecta a la asignación de los nombres, se ha optado por aquellas designaciones que permiten identificar a sus portadores de la manera más fácil y descriptiva posible. De hecho, el príncipe de Nápoles aparece referido en la edición modernizada de Gifford-Dyce como Cesario, pero nosotros hemos conservado la forma Prince del Q ya que, amén de breve e inequívoca (no hay otro príncipe en la obra), pensamos que encaja más con el carácter autoritario y egocéntrico que le confiere su posición en la corte.

El caso de Didimo, paje de Rosinda, es distinto. Aquí, al contrario que en el caso anterior y coincidiendo con la edición de Gifford-Dyce, hemos sustituido el Page del Q por el nombre propio puesto que Pazzorello, pareja inseparable de Didimo en los pasajes cómicos de la obra, así es como se dirige a su compañero en cada una de las ocasiones en que comparten protagonismo (2.2.71-2 Sweet Didimo,/ hold my head; 3.1.2 sweet Didimo, counsel me; 3.14 This the preferment you wish me to, Master Didimo). Creemos, pues, que es la mejor opción para designar a un personaje cuyo nombre se repite varias veces en los parlamentos. Asimismo, hemos optado por expandir las réplicas asignadas a los reyes de Nápoles y Sicilia en sus parlamentos, quienes al carecer de nombre propio requieren de complemento of Naples/of Sicily para evitar confusiones, especialmente en el momento de coincidencia de ambos personajes encima del escenario.

En conjunto, el texto de The Young Admiral presenta relativamente escasos problemas al editor. Destacamos como cuestiones más conflictivas los casos de designación de personajes arriba explicitados, así como algunos casos puntuales de fallos en la asignación de réplicas tales como 1.1.106 I have business of some consequence…, erróneamente asignado a Julio cuando, en realidad, responde a una pregunta del príncipe hecha al recién llegado Fabio; 4.1.153 Home to a witches' upsitting…, referido a Flavia casi de inmediato tras la marcha de ésta – indicada en una acotación anterior – disfrazada de hechicera para engañar al inocente Pazzorello; o 3.2.37, en donde nos encontramos con una breve intervención sin réplica (A herald, sir), que optamos convenientemente por asignar a Fabio añadiendo sendas indicaciones de entrada y salida al texto base.

En cuanto a la grafía, podemos resaltar el mantenimiento de formas arcaicas como 1.2.111 sware (participio pasado de swear), 4.5.9 ingrateful (por ungrateful), o 4.3.31 forciveness que, tal como se explica en las notas de comentario, deriva del adjetivo forcive listado en el OED como equivalente al actual forcible (pero que Gifford-Dyce, no obstante, enmienda a frowardness). Este y otros casos de ‘cruces’ textuales, aun siendo ciertamente poco frecuentes en la obra de Shirley, aparecen documentados en el apéndice de notas de comentario situado al final del texto, donde el lector puede encontrar información de carácter léxico, mitológico, sociocultural, teatral, etc. de interés para una mejor lectura y comprensión de la pieza que presentamos.

Por lo que respecta al apéndice de notas textuales, éste no recoge la corrección de errores tipográficos básicos como en 1.1.9 *heene (beene, modernizado been), 1.1.130 *verture (vertue = virtue) o 5.1.37 *yon (= you). Tampoco de aquellos cambios de puntuación que no afectan al sentido del texto. Lo que ofrece dicho apéndice es una relación de enmiendas sustantivas al texto del diálogo y de las acotaciones, así como de enmiendas de puntuación que comportan cambios en el significado. La supresión de comas que indican pausas en el habla, así como de signos de interrogación para expresiones exclamativas (dos rasgos comunes de la escritura de la época) no se indica; sí se señalan, aparte de lo que ya hemos dicho, aquellos momentos en los que la distribución del texto en prosa o en verso de la presente edición no se corresponde con la del Q.

Téngase en cuenta que, cuando se trata de fragmentos en prosa en Q y editados como prosa en esta edición, la división de líneas no ha de coincidir necesariamente. Salvo mención explícita, todas las enmiendas a la división lineal del texto están tomadas de la edición con grafía original de Ericksen. La numeración, sin embargo, obedece a criterios inherentes al medio electrónico en su distinto tratamiento de los pasajes en prosa con respecto del verso. Dado que nuestro texto aspira a formar parte de la colección EMOTHE, hemos numerado dichos fragmentos de acuerdo con las pautas ISE que asignan una línea distinta a cada parlamento en prosa (en ocasiones, párrafos enteros), en aras de su posterior adaptación al entorno digital junto con el aparato crítico que aquí se presenta.

NOTAS

(1) Entendemos el término «bibliotextual» como referente tanto al campo de la bibliografía como al de la crítica textual. Para una definición clara de las funciones interrelacionadas de ambas –una más orientada a los aspectos mecánicos de transmisión textual, la otra más crítica y literaria–, véase F. Bowers, On Editing Shakespeare (Charlottesville: The University Press of Virginia, 1966), según se cita en J. V. Martínez Luciano, Shakespeare en la crítica bibliotextual (Valencia: Instituto Shakespeare de la Universidad de Valencia, 1984), pp. 59-60

(2) En concreto, Tanselle hace referencia a las corrientes del New Criticism en los años 40 y 50 y de la deconstrucción en los 70 y 80 como ejemplos de orientaciones ahistoricistas que se alejan del ideal teórico de la intención autoral

(3) Para un comentario detallado de las aportaciones de la New Bibliography al ámbito bibliotextual, son imprescindibles los trabajos de F. P. Wilson, Shakespeare and the New Bibliography (Oxford: Oxford University Press, 1970) y de Gabriel Egan, The Struggle for Shakespeare's Text: Twentieth-Century Theory and Practice (Cambridge: Cambridge University Press, 2013), así como el capítulo dedicado a este tema en Martínez Luciano, op. cit., pp. 29-53

(4) Menciona Jowett dos nombres, el de Barbara Mowat y el de Greg, como ejemplos de referentes teóricos encontrados cuyos postulados podrían aunarse en beneficio de la crítica editorial. Véase el ensayo completo en J. Jowett, Shakespeare and Text (Oxford: Oxford University Press, 2007), pp. 104-114

(5) Aquí nos referimos a la primera edición moderna de la obra, publicada en Londres en 1833

(6) La edición con grafía y puntuación original de la que hablamos es la única de estas características con respecto a The Young Admiral realizada hasta la fecha. Impresa en Nueva York en 1979, es la segunda edición moderna de la pieza

(7) Según aparece citado en Martínez Luciano, op. cit., p. 37

(8) Disponible en http://collections.chadwyck.co.uk

(9) Disponible en http://eebo.chadwyck.com/home

(10) Según consta tanto en W.W. Greg, A Bibliography of the English Printed Drama to the Restoration (4 vols. Londres: The Bibliographical Society, 1970, 1st ed. 1939), como en la base de datos ‘DEEP’ disponible en http://deep.sas.upenn.edu

(11) Véanse las págs. 134-7 de la edición de Ericksen

(12) Para información detallada acerca de los procesos de copia impresa de los textos, véase A. Blecua, Manual de Crítica Textual (Madrid: Castalia, 1983), pp. 172-73

(13) Por lo que a la retención de prompt-books por parte de las compañías teatrales se refiere, nos remitimos a la siguiente afirmación de Jowett en su repaso a la crítica bibliotextual del siglo XX: «One important conclusion reached in the work surrounding the Oxford Shakespeare was that the licensed prompt-book was rarely, if ever, released to supply direct copy for the Folio compositors» (ib.: 103). Lógicamente, dicho presupuesto puede aplicarse también a otros textos dramáticos ingleses de la época

(14) Jowett equipara la división entre foul papers y prompt-books de los New Bibliographers a las categorías pre-theatrical y post-theatrical de las que parte el trabajo editorial y crítico de la Oxford Shakespeare desde finales de los 80

(15) Véase Bowers, op. cit., según se cita en Martínez Luciano, op.cit., pp. 57-58

(16) Toda la información acerca del revisionismo de Werstine la encontramos en P. Werstine, «Narratives About Printed Shakespeare Texts: 'Foul Papers' and 'Bad Quartos'» (Shakespeare Quarterly 41, 1990: 65-86), y Early Dramatic Manuscripts and the Editing of Shakespeare (Cambridge: Cambridge University Press, 2013)

(17) Disponible en http://digitalrenaissance.uvic.ca/

(18) Disponible en http://qme.internetshakespeare.uvic.ca/

(19) Véase la descripción detallada en G. Taylor, «General Introduction», en William Shakespeare, a textual companion (Oxford: Oxford University Press, 1987), pp. 12


List of Characters

The King of Naples
The King of Sicily
Cesario, the Prince of Naples
Vittori, the young Admiral
Alphonso, his father
Julio, nobleman of Naples
Alberto, nobleman of Naples
Fabio, nobleman of Naples
Horatio, nobleman of Sicily
Trivulsi, nobleman of Sicily
Mauritio, a Neapolitan captain
Fabrichio, a Sicilian captain
Didimo, a page to Rosinda
Pazzorello, a servant to Rosinda
Captain
Messenger
Sergeant
Soldiers
Rosinda, the daughter of Sicily
Cassandra, Vittori’s mistress
Flavia, a lady attendant on Rosinda

1[.1]

Enter Prince and Alberto.

Alberto
My lord, you're sad.

Prince
I am thinking, Alberto,
Of many things, have I not cause?

Alberto
You may
Think on 'em with less trouble.

Prince
But of all,
What dost imagine most afflicts me? I'll
5
Prevent thy answer: I am not troubled
With the present threat'nings of the enemy,
With all his preparations to invade us.

Alberto
You have more confidence in Vittori, sent
To meet the insulting King; he has been fortunate
10
In many wars.

Prince
The wars consume Vittori!
He has been too fortunate.

Alberto
Your wishes are
Against the common peace: if he prove not
A happy admiral, we are lost.

Prince
Be thou
And all thy name lost, and may no age
15
Find it again! How dare you interrupt us?
When we do want your counsel, we’ll call for you.

Alberto
I am gone, sir.

[Exit.]
Enter Julio.

Prince
My Julio, welcome.
What speaks Cassandra yet?

Julio
Nothing to encourage you – the same obstinate thing:
20
Vittori has her heart. She much condemns
The roughness which you mixed with your last courtship;
She says your father may command her life,
But you must be a stranger to her bosom.

Prince
I was too rude at my last visit.

Julio
25
Rather, sir, too tame.

Prince
Have I for this drawn war upon my country,
Neglected Sicily’s daughter, left a stain
Upon his court, and paid his entertainment
With wounding one he loved?

Julio
His favorite!
30
You had been less, sir, than yourself to have suffered
His insolence; nor was't an act becoming
His master to send hither to negotiate
A marriage for his daughter and, when you
So far engaged yourself upon a visit,
35
To permit any of his gaudy upstarts
Affront your person.

Prince
I acquit the King:
'Twas no state quarrel. High with wine, he did
Throw some disgrace on our Italian ladies,
Whilst he would magnify some beauties there.
40
This he did second with a pride and rudeness
My patience was not tame enough to suffer,
And, careless of all danger, I did punish him.

Julio
'Twas home and handsome.

Prince
I must owe to Fortune –

Julio
For your return, she did but do her duty
45
To make it swift and happy.

Prince
I confess
The Princess used me nobly, though my fancy
Was not surprised; for here I kept the image
Of fair Cassandra, whose divine beauty
Doth scorn all competition.

Julio
Did you love
50
Cassandra before you went to Sicily?

Prince
Yes, but with too much silence, and that love
Did make me apprehend more fiercely the
Occasion to break off all foreign treaty.
Horatio's fall, and my quitting the country
55
Upon't, the King interprets a disgrace
To his daughter and himself and, in revenge,
Hath added this new tempest to the sea,
Meant to our ruin, Julio.

Julio
All their fury
May soon be interrupted, if Vittori
60
Manage his business well.

Prince
That's all my trouble.

Julio
What?

Prince
Vittori: there's the devil on't, he may
Be fortunate and overcome.

Julio
Can there
Be ill in that?

Prince
Ill? Thou art shallow – I
Made him not admiral but to engage
65
His youth and spirit, apt to fly on dangers,
To perish in his hot pursuit of honor.
If he come home with victory, my father
And his wise state must give him thanks, the people
Giddily run to meet the conqueror
70
And owe their lives, and safety, to his triumph.
But where am I? What peace brings it to me?
What blessing is't to hear the general voice
Shoot their wild joys to heaven and I, in torment,
Certain to lose my hopes in fair Cassandra?

Julio
75
There may be ways at home to remove him
And plant you in your wishes.

Prince
It would be
Most happiness to hear his death.

Julio
That may
Ruin a kingdom.

Prince
Ruin twenty more,
So I enjoy her first! Nothing can be
80
Too precious to forfeit. I am mad,
And my desires, by opposition, grow
More violent.

Julio
I thought your masculine soul
Less capable of vexation. Shall a subject,
Whom with your breath you may blow out o'th'world,
85
Raise such a storm within you?

Prince
No, he shan't!
I've found myself again – come, I’ll be merry.
But I will have Cassandra spite of fate!

Julio
Resolve, and have her.

Prince
Stay, it were convenient
We did know how to do this, Julio.

Julio
90
You're in the right, sir; it were first, indeed,
Convenient to know how.

Prince
Thou knowst his father –

Julio
Signor Alphonso?

Prince
A bold and daring gentleman, all flame
When he is moved and careless of a danger
95
To vindicate his honor.

Julio
What of this?

Prince
He shall bear the foundation of a plot
To make me lord of my desires.

Julio
He’ll rather
Meet tortures than consent, his arm is not
Yet withered, and while he can lift a sword,
100
He will employ it to revenge Vittori.

Prince
Thou art no politician, Julio. –
Enter Fabio.
How now, what news with you?

Fabio
An't please your grace,
An humble creature of yours, proud of the least
Occasion to express how faithfully
105
My heart is fixed to serve you.

Prince
What’s your business?

Fabio
I have business of some consequence.
I had not been so bold else to disturb
Your princely conference, for I durst never
Assume that impudent garb that other courtiers
110
Are known by; my devotion has been still
To appear in modest services.

Prince
To'th'point.

Fabio
It were a point of deep neglect to keep
Your grace in expectation, yet delays
Make joys the sweeter: arrows that fly compass
115
Arrive with as much happiness to the mark
As those are shot point-blank!

Prince
[Aside]
This courtier loves
To hear himself talk. – Be not so impertinent,
We know your care.

Fabio
And cost, my lord, sometimes;
For they that hold intelligence abroad
120
To benefit their country must not make
Idols of their estates, and 'tis a happiness
To sell their fortunes for their prince's smile,
Which I am confident you will vouchsafe
When you have heard my news.

Prince
Would you would vouchsafe
125
To let us hear!

Fabio
Vouchsafe, my lord! Alas,
You may command my tongue, my hands, my feet,
My head; I should account that limb superfluous
That would not be cut off to do you service.

Prince
I do command thee silence – dost hear? Silence.

Fabio
130
It is a virtue, my good lord, I know,
But where the tongue has something to deliver
That may delight a prince’s ear, and so forth –

Julio
[Aside]
Now there’s some hope! He's come to his "and so forth".

Fabio
The news concerns the Admiral Vittori.

Prince
135
What of him? Is he slain?

Fabio
The stars forbid! He is returned, my lord,
Triumphant, brave and glorious –

Prince
Be dumb!
Another syllable, I’ll ha' thy tongue out
And leave no root, lest there grow out another.
140
Was all your circumstance for this?

Julio
[Aside to the Prince]
My lord,
You are too open-breasted – let this fellow
See into your heart! Wise men disguise their counsels
Till things are ripe.

Prince
[To Fabio]
Begone! Pox o'your legs
An the curse ha' not been before! Yet stay,
145
Give order that no man go forth to meet him:
Until our pleasure’s further known, command
The Governor o'th'city place a guard
About the gates; let no man's face appear
Without the walls. The King, our father, means
150
To salute him first in person. D'ye stand?

Fabio
"Give order that no man go forth to meet him!" –
I shall, my lord.

[Exit.]

Prince
[Aside]
He shall be entertained;
I feel new armies in my breast.
Enter Alphonso.
[Aside]
His father!
[Whispers to Julio]
Thine ear, Julio.

Julio
I shall attend you straight. –
155
[To Alphonso]
My honorable lord.

Alphonso
Your servant, Julio.
Where is the Prince? I beg your grace's pardon.

[Exit Julio.]

Prince
O my good lord! Your son, I hear,'s returned
With honor, has defeated the Sicilian
Bravely.

Alphonso
He has, an't please your highness; heaven
160
Has smiled upon his undertaking. It
Renews my youth to hear it.

Prince
He had good soldiers,
But all their valor still conspires to make
The general a garland. He must wear
The conquering bays, whose blood soever pays for't.

Alphonso
165
My lord!

Prince
Nay, nay, I envy not his victory.

Alphonso
You envy him! It was your cause he fought,
And for his country.

Prince
Right, and 'tis the cause
That often prospers: that without his valor
Would ha' defensed itself.

Alphonso
If all virtue
170
Were left to her own protection, my lord,
Unarmed with strength and policy, best states
Would find shrewd innovations.

Prince
You had best
Tell me I lie.

Alphonso
I dare not think so folly.

Prince
You're a traitor! –
[Re-]enter Julio with a guard.
Lay hands on him!

Alphonso
175
He that shall dare to say Alphonso is
A traitor, let his veins partake no blood
Of yours, and he shall curse he had a tongue.

Prince
Disarm the rebel, and to prison with him!

Alphonso
Ingrateful Prince!

Prince
I’ll tame your ruffian spirit. –
Exeunt [Alphonso and guard].
180
So, so, I’ll now acquaint my father, Julio,
Who must allow my act: diseases that
Are desperate require a rugged handling. –
[Aside]
This is for thee, Cassandra!

Exeunt.

[1.2]

Enter Vittori, Mauritio, Captain and Soldiers[,with ensigns displayed].

Vittori
Stand!

1 Soldier
Stand!

2 Soldier
Stand!

3 Soldier
Stand!

Vittori
185
The King received intelligence?

Mauritio
Our ships
Must needs report that loud enough.

Vittori
'Tis strange.
Is it not possible we have mistook
The shore, transported with our naval victory?
Speak, gentlemen! Or do we dream?

Mauritio
Those walls
190
Are certainly the same, and that the city
Peopled when we launched forth and full of prayers
For our success.

Captain
It may be they reserve
Their welcome till we march into the city.

Mauritio
They may have some conceit.

Vittori
A general silence
195
Like night dwells round about us, and no sign
That men inhabit; have we won at sea
To lose ourselves upon the land? Or in
Our absence hath some monster landed here
And made it desolate, devoured the natives,
200
And made 'em creep into the earth again?

Mauritio
They might salute us with one piece of ordnance.

Vittori
They cannot take us for their enemies.
Captain, inquire the cause; let none else move.
Yet stay, unless it be some strange mortality –
205
And yet that cannot be –, have we brought home
Their safety purchased through so many horrors
And is this all the payment for our conquest,
To shut the gates upon us?

Captain
Force them open
With the cannon, shake their walls about their ears –
210
They are asleep.

Vittori
For such another rashness,
Thy head shall be the bullet of that cannon
And shot into the town; go to! Be temperate.
As I grudge none the merit of their valor,
I must hear none so bold.

Captain
I ha' done, sir.

Vittori
215
Subjects are bound to fight for princes, they
Not bound to the reward of every service.
I look upon thee, now fighting at sea,
And have forgot this error; give no breath
To such a thought hereafter. Honor pays
220
Double where kings neglect, and he is valiant
Truly that dares forget to be rewarded.

1 Soldier
This is but cold comfort for a knapsack-man.

Vittori
And yet 'tis strange the King should thus neglect us,
This is cheap entertainment for a conqueror.
225
Is't not, Mauritio? Misery of soldiers!
When they have sweat blood for their country's honor,
They stand at others' mercy.

Mauritio
They have slept since,
And dreamt not of our sufferings.

Vittori
[Aside]
Is the Prince
Alive, to whom we owe our country's quarrel,
230
The difference of both kingdoms?
Our war and fortunes justify his act,
Can he be guilty of this shame? No more!
There's something would fain mutiny within me;
Strangle the snakes betime, Vittori. – So,
235
This was a way to forfeit all our fames.
Fold up your ensigns, throw off all the pride
That may express a triumph – we'll march on
As we had overbought our victory.

Mauritio
The gates are opened now, and we discover
240
A woman by her veil, in mourning habit,
Coming this way.

Vittori
Alone? More strange and fatal:
It may be 'tis my genius come to give
A melancholy warning of my death,
As Brutus had from his. I'll stand my destiny,
245
Yet bearing the resemblance of a woman
It will less terrify. Who should this be? –
Enter Cassandra veiled, in mourning.
Lady, your garment speaks you a sad woman.
Griefs should salute no nearer, if it were
In poor Vittory's power to dispossess you
250
Of any sorrow.

Cassandra
O my dear Vittori!
My wishes aim at none beside.

[Lifts her veil.]

Vittori
Cassandra!
We are rewarded.
[Kisses her.]
Had Vittori taken
Into his body a thousand wounds, this kiss
Had made me well again, or but one drop
255
Of this rich balsam, for I know thy tears
Are joy to see Vittori safe; the King,
With all the glories of his province, cannot
Do half this honor to his Admiral.
I have a place above all happiness,
260
And meet a greater empire in thy love
Than fame or victory hath ever boasted.
My own, my best Cassandra!

[Embraces her.]

Cassandra
Call again
That temper, which hath made Vittori honored,
And if my tears – which carry something more
265
Than joy to welcome home my best-loved lord –
Affect you with no sadness, which I wish not,
Yet look upon this mourning, not put on
To counterfeit a grief, and that will tell you
There is necessity for you to know
270
Somewhat to check the current of your triumph.

Mauritio
What prodigies are these?

Vittori
I was too careless
Of this sad habit – joy to see thy face
Made me distinguish nothing else. Proceed
And punish my too prodigal embraces:
275
It is not fit I be in one thought blest
And thou in such a livery.

Cassandra
When you say
You have strength enough to entertain the knowledge
Of such an injury.

Vittori
If it only point
At me, speak it at once, I am collected,
280
Shalt see I will be conqueror at home;
If it concern thyself, let it not flow
Too fast, but rather let my ear receive it
By such degrees as may not kill too soon
But leave me some life only to revenge it.

Cassandra
285
The Prince, whose cause engaged your war abroad,
Hath ill rewarded you at home.

Vittori
He cannot!

Cassandra
Sir, in your absence I have suffered for you,
Hourly solicited to my dishonor.

Vittori
Ha!

Cassandra
For though he called it love, I might suspect it:
290
His personal visits, messengers, rich presents
Left me not quiet to enjoy myself.
I told him I had given my faith already,
Contracted yours; impatient of my answers,
He urged his greatness, sware he would enjoy me
295
Or be no prince in Naples; I am yet
Preserved and welcome home my dearest safety.

Vittori
The Prince do this!

Cassandra
This is but half the story:
By his command none dare salute your victory,
Or pour their glad hearts forth at your return.
300
To these he hath newly added the dishonor of
Your father, whom he hath commanded close
Prisoner i'th'castle upon some pretense
Of treason. In my eyes you may behold
How people shed their sorrow, as the guard
305
Led him to prison, none so bold to ask
The cause that made him suffer in his misery.

Vittori
Will the King suffer this?

Cassandra
Alas, his age
Hath made him tame, a too indulgent father
To such a son, whose will is all the law,
310
Controlling what he pleases in this fall
Of justice. Which way will Vittori take?

Vittori
Mauritio, didst hear this? We must ask
Forgiveness that we have been valiant,
Repent our duties and that victory
315
We bought so dear. We should have died at sea
And then, perhaps, been talked on in the crowd
Of honest men for giving up our lives,
Which for our service they may now take from us.
We are not yet i'th'snare, and we have power
320
To stifle their designs and prevent our
Dishonorable fall.

Mauritio
The soldiers' hearts
Are yours.

Vittori
No, Mauritio, let 'em be the King's:
If such as they forget their office, we
Must keep our thoughts unstained, I'll to the King
325
But without any train.

Mauritio
In this, you do not
Consult your safety.

Vittori
Safety is a lecture
To be read to children – I do always carry
My own security within, Mauritio.
Yet do not think I am desperate: I'll take
330
No knowledge of the Prince's action
But give account of my engagement, that's
Not much amiss. The King, I know, is gracious,
And the Prince too, however passion play
This rebel in our soul.

Mauritio
You shan't need, sir:
335
The King is coming hither.

Vittori
And the Prince!
Let's all look smooth; the King is come himself
To gratulate our success. –
Enter King of Naples, Prince, Julio, Fabio [and] Alberto.
You too much honor
The poor Vittori, who at your feet lays
His heart and victory, and that which gave
340
Him power to do you service.

King of Naples
We receive it
And here discharge your soldiers, who shall tast
Of our particular bounty.

Soldiers
Heaven preserve the King!

Exeunt.

Prince
[To Fabio]
Sirrah, did not I give strict charge
That none should pass the gates? How came she hither?

Fabio
345
"No man," an't like your grace, I did remember
And durst not prevaricate in one syllable
Of my commission: she is a lady, sir.

Prince
You would be an officious hangman, I perceive;
I'll find you understanding.

Vittori
Let me prostrate
350
My duty to your highness and be honored
To kiss your hand.

Prince
Vittori, I'll not flatter,
I have no grace for him, whose father durst
Attempt an insolence upon my person
Which the son may be guilty of in his blood.

Vittori
355
My father insolent and I guilty, sir,
Because I share his blood? Oh, that I knew
In what part of my veins to find those drops,
That I might sacrifice 'em to your anger
And expiate my father's sin!

Prince
360
I came not to expostulate.

Vittori
Is this all my reward?

Prince
Your valor has
Been paid in the success, what you have done
Was duty, if you have not mixed our cause
With private and particular revenge.

Vittori
365
You speak not this to me, sir.

Prince
Yes, to you!
We do not fear the bugbears in your forehead.
You will hear more.

Exeunt Prince [and] Julio.

Vittori
Sir, you have mercy in you.

King of Naples
You have displeased our son, Vittori.

Vittori
I? Witness the angels –

King of Naples
I must tell you too
370
Your father has transgressed beyond example.

Vittori
Good heaven forgive him! Is this all,
All my reward?

King of Naples
What would you ask?

Vittori
Ask? – Why, I ask my father.

King of Naples
Your father?

Exeunt King [of Naples], Alberto [and] Fabio.

Vittori
Goodness, leave me not the wonder
375
Of all mankind. – Gentlemen – all gone!

Cassandra
Alas, Vittori!

Vittori
I, that commanded thousands
This morning, am not owner of one servant.
Dost thou stay with me?

Cassandra
My prophetic soul
Knew this before.

[Re-]enter King [of Naples], Alberto [and] Fabio.

Vittori
The King returns, Cassandra.

King of Naples
380
We've thought upon't, Vittori, and without
The counsel of our son will condescend
To your father's liberty. He is yours upon
Condition: you and he, and this your mistress,
Go into present banishment.

Vittori
385
How! Banishment?

King of Naples
I run my son's distaste –
There is no time for study. He affects
That lady: if you stay, something may follow
To'th'general repentance. Troth, I pity thee.
Here take our signet, time and absence may
390
Correct all.

Exeunt King [of Naples, Alberto and Fabio].

Cassandra
Oh, embrace it, dear Vittori!
We shall meet safely everywhere but here.
Enlarge your father, and we cannot miss
A happier fate.

Vittori
Can my Cassandra think so?
That word shall make me live a little longer.
395
But these are strange turns, madam; Naples hath
No dwellings for us when we are quit of these,
We'll with our grief make tame some wilderness.

Exeunt.

2[.1]

Enter King [of Naples], Prince, Alberto [and] Fabio.

King of Naples
What's to be done?

Prince
Done! You've undone all,
Betrayed the crown you wear! I see it tremble
400
Upon your head – give such a license to
A rebel! Trust him abroad to gather
Strength to the kingdom's ruin!

King of Naples
What can such
A naked man attempt to make us fear?

Prince
He carries with him a whole army, sir,
405
The people's love, who want no giddiness
Had they but opportunity, and such
A master rebel as Vittori to
Make spoil of all. – Who counseled him to this?

Alberto
Not I, an't please your grace: I wish it heartily
410
Undone.

Prince
You wish it, sir? Are wishes now
The remedy for such a mischief? You,
When the state bleeds, will wish it well again;
You're fine court surgeons! –
[To the King]
Had you stayed his father,
It might have checked his treason, or Cassandra –

Alberto
415
[Aside]
That's his torment.

Prince
We had been secure.
Exasperated now with his affront,
As never traitor wanted impudence
To blanch o'er his rebellion, he may inflame
The neighbor princes to conspire some war
420
For his revenge.

Fabio
His grace says right: there may
Be a consequence of much danger, and Vittori
Has fame abroad.

King of Naples
I did it for the best,
By his absence thinking to remove his anger.
I could have been content to have honored him
425
For, to say truth, his services did challenge
More friendly payment.

Fabio
To say truth, he was
A noble, valiant gentleman and deserved –

Prince
What deserved he?

Fabio
A halter, an't shall please
Your highness; I did wonder at your patience
430
He was not put to death.

Prince
I must acknowledge
Vittori has deserved for many services
The love and honor of his country, fought
Their battles and brought conquest home, made tame
The seas that threatened us, secured the land;
435
And Rome allowed some consuls for less victories,
Triumphs and statues.

Fabio
Most excellent Prince!
How just he is.

Prince
But, when opinion
Of their own merit swells 'em into pride,
Which sets a price on that, which modesty
440
Should count an act of their obedience,
They forfeit the reward of thanks and honor
And betray poor and most vainglorious souls.
Scipio and Antony, and other Romans,
Deserved well of the Senate and were honored;
445
But, when they ran to faction and pursued
Ambitious ends to undo their country's peace,
They were no longer patriots but declared
Rome's poison, and like gangrenes on the state
To be cut off, lest they corrupt the body.

Fabio
450
Was ever prince so wise!

King of Naples
But son, son, how
Can these stains reach Vittori? He hath given
No argument to suspect his fall from loyalty.

Prince
I do not, sir, accuse him, nor did I,
More than became the spirit of a prince,
455
Show I was sensible of his father's impudence.
If you remember, when I urged what trespass
His father had committed he urged aloud,
"Was this all my reward?", as if his service
Were obligation to make us suffer
460
And justify their affronts. But I waste breath,
Since you are so well pleased; my duty, sir,
Shall speak me still your son, but let me take
Boldness to prophesy their insolence
Struck at my person first, but you will find
465
Their pride reach higher: I am but a branch
Superfluous and may be pruned away.
You have, you say, no argument to suspect
His fall from loyalty; if what's done to me
Be dead within you, yet remember now
470
You have disengaged, by exile, his relation
And tie of subject: he owes now no faith to you.
What that, and his disgrace and opportunity
Abroad may frame him to, I leave to imagine.

[Going.]

King of Naples
Nay, prithee, come back, thou hast awaked me;
475
I find my rashness; I did never think
There had been so much danger. We will study
Timely prevention, let 'em be called back,
Fly after 'em, and in our name command –

Prince
You sha' not need.

King of Naples
How "sha' not need"?

Prince
Your pardon.
480
In hope your wisdom would allow it after,
I have made that my act: Julio is gone
With strict commission for that purpose.

King of Naples
Julio?
I thank thy care.

Fabio
'Twas most divinely thought on, most maturely.
485
Now all your jealousies are laid.

Prince
[To the King]
I shall
Compose myself at his return to wear
What countenance you will direct.

King of Naples
Cassandra
You've sent for too?

Prince
By any means, she is
So precious to Vittori. Had she sinned
490
Alone to merit banishment, he would follow her
Through all the world.

King of Naples
Women are strangely attractive;
Fame speaks her virtuous too.

Prince
Some virtue she has –
Enter Julio[, with] Alphonso guarded.
Julio has prospered. –
[To Julio]
Thou'st done good service. –
Alphonso, though your late affront to us
495
Be foul in its own nature and may encourage
Others by your impunity, yet we have
With the remembrance of your former actions
Lost your offense. Vittori too shall find
The honor he deserves.

Alphonso
How's this?

Prince
Where is he?
500
He does not scorn our mercy! – Julio,
Where is Cassandra?

Julio
Shipped with Vittori, thank Alphonso for't,
Whom you have pardoned; they are both at sea.

Prince
Whirlwinds pursue 'em!

King of Naples
Where's your son, Alphonso?

Alphonso
505
Embarked with his fair mistress. –
[To the Prince]
I observe,
My lord, which way your anger moves; in vain
You vex your soul for them. The sea's no part
Of your command, the winds are masters there,
Which cannot raise a storm so black and ominous
510
As their own country.

Prince
By what means escaped they?

Alphonso
Take it from me, and after cut my head off.
I charged him, as his heart wished to enjoy
A father's blessing as he loved the honor
Of his Cassandra, fearing some new plot
515
To hire a bark and quickly put to sea,
Whilst I made some stay to dispose affairs
That might befriend us in another country.
He did obey and had my prayers, the winds
Conveyed him swiftly from the shore, and had
520
Your creature, Julio, not made such haste,
I had dispatched and in another vessel
Followed his ship, but heaven determined I
Should be again your prisoner. Use your power,
But look to give account for every hair
525
Of this old head, now withered in your service.

Prince
To the castle with him!

Alphonso
Ay, there's the King. –
[To the King]
Let me use one word more, royal sir, to you.

Prince
You'll hear him?

Alphonso
Fear not, Prince, my soul's not fall’n
So low to beg compassion.

King of Naples
Speak, Alphonso!

Alphonso
530
My duty still preserved, I would advise
Your age to quit the trouble of your kingdom
And ask the Prince's leave to turn a Capuchin.
Why should you stoop with burden o'such a state
And have a son so active? Turn friar, my lord,
535
And make the youngman king.

Prince
I must endure.

King of Naples
Away with him!

Fabio
I'll see him safe, my lord.

[Exit with Alphonso and guard.]
Enter a Messenger.

Prince
What hasty news with you?

Messenger
To arms, great sir, for your defense! There are
New dangers from the sea.

King of Naples
Another fleet?

Messenger
540
And sailing this way, we suspect they are
Sicilians.

King of Naples
Vittori gave a blow to their design.

Prince
D'ye but suspect it, villain?

Julio
It may be
Some scattered ships.

Prince
Has not Vittori mocked us
545
And played the villain with your trust?

King of Naples
They could not be reinforced so soon. –
[To the Messenger]
What number?

Messenger
They cover, sir, the seas.

Prince
Gather up forces to
Prevent the landing.

Messenger
'Tis imposible!
They touch our shore by this time.

King of Naples
Then make safe
550
The city.

Alberto
It may be another fleet, meant to relieve
The first and came not forth so soon.

King of Naples
Now we want Vittori.

Exit.

Prince
All the diseases Naples ever groaned with
555
O'ertake Vittori! But Alphonso shall
Pay dearly for this mischief.

Julio
Be not, sir,
Dejected; 'tis more easy to defend
At home than thrive in foreign war. These men
Will find as proud resistance.

Prince
Canst thou think
560
I do look pale for this? No, Julio,
Although the sudden news might move me somewhat,
I have a heart above all fear and can
Know no distraction but Cassandra's absence;
That makes me look so wild and tears my brain
565
With the imagination.

Julio
But the state
We are in requires you should be active, sir.

Prince
Ah, Julio, the armies which I fear
Are not abroad, they have made entrenchment here.

Exeunt.

[2.2]

A shout within[, then] enter the King of Sicily, Horatio, Trivulsi [and] Fabrichio.

Horatio
Though Naples do not bid you welcome, sir,
570
Ashore, the joys and duties of your subjects
Cannot be silent.

King of Sicily
We do thank you all.
The seas were kind, and the winds kissed our sails.
All things conspired to our revenge.

Trivulsi
Your justice
Our very enemies acknowledge it
575
And, conscious of their injury, are afraid
To look upon us.

King of Sicily
Marshall of the field,
Give present order for entrenchments,
We'll quarter here; you shall make good that part
With your horse troops and plant cannons on that hill
580
To play upon the town. Naples shall find
We did not venture all upon one stake;
That petty loss at sea which made them triumph
And, perhaps, careless of more opposition
Shall dearly be accounted for, beside
585
Dishonoring our daughter and our court
By such a rude departure.

Horatio
As they had
Scorned your alliance.

King of Sicily
Thy particular
Suff'rings, Horatio, and wounds are put
Into the scale.

Horatio
They are not worthy, sir.
590
Had his sword reached my heart, my death had been
No sin compared to that affront he threw
Upon yourself and daughter. I was bound
To engage that blood was given me to serve you,
And I do love those drops that, in a cause
595
So just, made haste to show their duty to you
Better than those that dwell within my heart.

King of Sicily
We are confident of thy loyalty.

Enter Rosinda and Flavia.

Trivulsi
The Princess.

King of Sicily
Alas, Rosinda! Thou were not bred to these
Tumults and noise of war. Has not the sea
600
Impaired thy health? I was too rash to allow
Thy travail and expose thy tenderness
To this rude voyage.

Rosinda
It appears to me
A pleasant change of air. I have heard men talk
Of many horrors that attend the seas,
605
Of tempests and of dangers; I have seen
Nothing to fright me. If the waves put on
No other shape, I could exchange methinks
My dwelling on the land.

Horatio
We owe this happiness
To you, fair Princess, for whose safer passage
610
The breath of heaven did gently swell our sails.
The waves were proud to bear so rich a lading
And danced to th'music of the winds.

Rosinda
You show
Your complement, my lord. Call you this Naples?

King of Sicily
The kingdom of our enemy, which shall
615
Groan for the inhabitants. Are all our forces
Landed?

Trivulsi
Safe to your wishes and expect
What they shall be commanded.

King of Sicily
We must first
Secure the ground we have: being defensed
With works, we may prevent their sallies and
620
Assault to our best advantage. – Still preserve
Thy courage, my Rosinda; 'tis for thee
We have adventured hither.

Rosinda
And you have
Been kind to the petition of your daughter,
Who can in duty wait upon your fortune.
625
At home, I should have withered in your absence;
I shall grow valiant here.

King of Sicily
My dearest child,
Whose very eyes do kindle flames of courage
In every soldier, be still safe and promise
Thyself a brave revenge.

[Exeunt all but Rosinda and Flavia.]

Flavia
630
What will become of us, madam?

Rosinda
We must take our fortunes; I am sorry
For thee.

Flavia
You have some reason for yourself.
If any danger follow, I know where
To place the cause, but I dare suffer with
635
Your grace.
Enter Pazzorello and Didimo.
Pazzorello, madam, and the page.

Rosinda
He's come in good time to relieve our thoughts.

Pazzorello
Madam.

Didimo
Come, pluck up a good heart!

Pazzorello
'Tis coming out as fast as it can. Sweet Didimo, hold my head.

Didimo
Come, 'tis but a little seasickness.

Pazzorello
"Seasickness," quotha? – A vengeance of all drunken voyages, I can do nothing but –

Rosinda
How now, Pazzorello?

Pazzorello
O madam, never did man cast up so much and had so little skill in arithmetic! Nothing grieves me, but that I have not drunk for't. I have a perpetual motion in my belly, the four winds are together by the ears in my small guts; would I had never known the sea! Little did I think – Oh –

Flavia
Thou art a freshwater soldier.

Pazzorello
Freshwater? I know not. I'll be judged by the whole ship if I was not in a sweet pickle.

Rosinda
The worst is past, this is but physic.

Pazzorello
If I had thought the sea would have given me so many vomits, I would have seen it burned ere I would ha' ventured so far! I ha' purged both ways; an the enemy had met us before we landed, I should have scoured some on 'em.

Didimo
How do you now?

Pazzorello
The fit is not so violent altogether, o'shipboard I ran a tilt; howsoever, I beseech your grace that I may go home again.

Rosinda
There is no way by land.

Didimo
And a little more jogging at sea –

Pazzorello
The very word "sea" boils in my stomach and will make my mouth run over presently – Ho! It comes, it comes!

Exit.

Didimo
Madam, I have a great desire to attend him. I have cast a plot to make your highness merry.

Rosinda
You'll play the wag with him; we'll trust you to pursue it.

Didimo
I humbly thank your grace.

Exit.

Rosinda
Flavia, does not the day look black o'th'sudden?

Flavia
It has not the same complexion. I hear
A noise too.

[Storm, with thunder and lightning.]

Rosinda
From the sea, it grows loud.

Flavia
640
'Tis well we are ashore. O me! I tremble
To think what would be come on's an we had
Not been afore this tempest; I thank providence.
I was upon the sea once in a storm,
But they use to clap the women under hatches;
645
I never prayed so in my life.
[Re-]enter King [of Sicily,] Horatio, Trivulsi [and] Fabrichio.
The King!

King of Sicily
I know not what to think: no sooner landed
But such a storm pursue us! Does not this
Affright Rosinda into paleness? – Dost
Not feel an ague?

Rosinda
I have rather cause,
650
Sir, to rejoice: it overtook us not
Upon the sea, the fury of it there
Might have been fatal.

Horatio
Be not troubled, sir,
My soul doth from this omen prophesy
The victory you wish upon this kingdom,
655
Nor is it superstition to believe
That heaven doth point us out the scourge to Naples
By seconding our coming with a tempest.
The waves were proud to entertain our navy,
The fish in amorous courtship danced about
660
Our ship, and no rude gale from any coast
Was sent to hang upon our linen wings
To interrupt our wishes. Not a star
Muffled his brightness in a sullen cloud
Till we arrived, and then observe how heaven
665
Threatens the fall of this proud enemy
By this prodigious tempest, which but gives
Them warning of a greater.

King of Sicily
We are confident
Thou hast happily expounded. What lightning
Darts from those angry exhalations!

Horatio
670
It speaks the flame of our revenge.

King of Sicily
What thunder!

Horatio
The loudness of our cannon; let their fears
Apply it and run mad with apprehension.

Trivulsi
Our ships must needs fall foul on one another,
Riding i'th'haven.

Horatio
Let 'em crack their ribs,
675
We have the more necessity to tug for't.

King of Sicily
Yet would thou wert at home!

Rosinda
Fear not for me, sir,
Your absence would present my imagination
With more affliction. I suffer less
In knowledge and shall rise by brave examples,
680
Valiant above my sex; these horrors fright
Not me.

King of Sicily
This fire will quicken the whole army –
[Enter] soldiers, pursued by Vittori [with his sword drawn, bearing] Cassandra half dead under his arm.
What mutiny is here?

Vittori
Base villains, to take part
With all the malice of the world against me!

King of Sicily
What are you?

Vittori
I am a gentleman, and dare
685
Rather than suffer a rude hand divorce
This burden from my arms: defy you all.
Alas, she will be gone! O my Cassandra!
Thy soul sha'not forsake thee thus, I'll take it
In with a kiss.

Trivulsi
Some whom the wreck has cast
690
Upon the shore.

Rosinda
Pity the gentlewoman.

Vittori
Come not too near: the man that first attempts
This lady had better rip his mother's womb.

King of Sicily
Whence are you?

Vittori
You are strangers I perceive;
Then I presume to tell you I have more justice
695
To tread upon this earth than you or any
The proudest. It once gave us birth, and fate,
Ungentle fate, hath sent us back to die here,
But I will not outlive my dear Cassandra.

King of Sicily
Do you delight in wounds? Resign that lady.

Vittori
700
Not while my hand can manage this; the blood
You take will make us walk on even pace
To death, and when my soul can stay no longer,
I'll leave a curse to blast you. But if you
Bear hearts of flesh about you and will promise
705
A pity to this poor departing spirit,
I will not use a sword but give my life
To be commanded from me at your pleasure:
Your care will come too late.

King of Sicily
I promise by
The word and honor of a King she shall
710
Be carefully attended.

Vittori
Though that name
Breed wonder in me, it secures all thoughts
That may concern her safety.

[Resigns Cassandra to the attendants.]

King of Sicily
See, Rosinda,
With as much diligence to this lady's health
As you'd preserve your own.

Horatio
An excellent creature!

King of Sicily
715
My faith is past.
Now if you please, you may acquaint us with
Your name and quality.

Vittori
[Aside.]
Something on the sudden
Weighs my heart lower: I ha' not power to thank him.

King of Sicily
Already you have expressed yourself this countryman.
720
Be more particular.

Vittori
My name's Vittori.

King of Sicily, Horatio
The Admiral of Naples?

Vittori
It was a title
I had too late and lost it for my service.
I cannot conjure up the dead to witness;
There be some living that remember me.
725
It was my chance to have the best at sea
Against the bold Sicilian.

King of Sicily
A chance say'st?

Vittori
Few victories can boast more: all is but
The die of war, which valor must obey.
My lot was to bring peace and triumph home,
730
And my reward was banishment; the sea
Held me a sinful burden to the waves,
Or else the blood I shed to mix with 'em
In anger and revenge conspired to throw
Our bark, with the distressed lading back
735
Upon this flinty bosom of our country.
You have at full my misery; be just
To that poor lady, whatsoe'er I suffer.

King of Sicily
Your fame was with us earlier. – Entertain him.
[Soldiers] disarm Vittori.
You are welcome, man; there's cause we should
740
Be kind to you.

Vittori
Will a King stain his honor?

King of Sicily
Know, miserable man, thy destinies
Have made thee his, that will exact severe
Account for many lives. –
[Aside]
Most happy storm!
Thy master too shall find a punishment
745
Great as his pride. –
[Aside]
How fortunate we are!

Vittori
I ask no mercy for myself: be kind
To that poor lady, as you're a prince, and I
Will kiss my fate.

King of Sicily
We violate no promise made to her,
750
Though torment make thee curse thyself. –
[Aside]
Blest heavens!
You shall pay dear for all.

Vittori
O my Cassandra,
When at the expense of all my blood I have bought
Thy precious life from these hard-hearted men!
Shed one tear on me, and I am paid again.

Exeunt.

3[.1]

[Enter Didimo and Pazzorello.]

Didimo
You should have thought of this afore.

Pazzorello
I did think and do think on't again, but there was a necessity of going with the Princess or losing my place at court when she came back; prithee, sweet Didimo, counsel me, I shall ne'er endure this bouncing of guns. Happy are they that can destroy gunpowder without offense in their musterings! Soldiers may talk, but there's neither wit nor honesty in making so many cripples; yet I would give one of my legs to have the t'other secured, I care not which. Cowards are commonly creatures of understanding. Would I had purged away my soul at sea! There had been peace among the haddocks.

Didimo
Come, I have a trick to save thee harmless: thou shalt entreat to be gentleman of a company.

Pazzorello
Shall I? What's that?

Didimo
A singular privilege I can tell you; oh, the right hand file! Do not you know't?

Pazzorello
A right-handed file?

Didimo
There's no honor like it: I'll not give a rush to be an officer. Your gentleman of a company marches in the van.

Pazzorello
Van? What's that?

Didimo
The bullets first salute him, he goes up to the mouth of a cannon, he lies perdu

Pazzorello
Perdu?

Didimo
More glory than to command an army; to lie two hours upon his belly in the field and dig a hole for his chin when the bullets whisper in both his ears, "whiz!" To be trod upon by horses and scorn to reveal himself – sometimes to be snatched up by a party of firelocks or, if he fight, to be cut into honorable collops or have his limbs strewed about the field which, found by a subtler's wife, are sod for the knapsack-men and go current for camp mutton. My father was a captain, and I have heard him tell brave stories of these gentlemen of companies.

Pazzorello
And thou wouldst ha' me one of these gentlemen?

Didimo
By any means.

Pazzorello
Have the bullets first salute me, lie perdu, as you call it, and be cut into honorable collops, or have my haunches sod by a subtler's wife and pass for camp mutton! This the preferment you wish me to, Master Didimo.

Didimo
You shall be in no danger; I have but told you what fortunes other men have met withal. You shall be secure and march in the van.

Pazzorello
And come up to the mouth of a cannon?

Didimo
'Tis my meaning.

Pazzorello
Which if I do, I'll give the cannon leave to eat me.

Didimo
Dost thou think I would advise thee any thing for thy hurt?

Pazzorello
Hurt! No, no, these are but flea-bitings to have my limbs strewed about the field, or so.

Didimo
Come, I love thee and will give thee proof. Thou hast got money in thy service; put thy body in equipage and beg of the Princess to be one of these brave fellows. I will put thee into a way to get everlasting fame, and not a hair of thy head shall be the worse for't; thou shalt come off.

Pazzorello
My head shall come off!

Didimo
Thy whole body triumphant, my Rosicleer, and live to make nations stand a tiptoe to hear thy brave adventures! Thy head shall be enchanted, and have a proof beyond the musty morion: didst never hear of men that have been slick- and shot-free, with bodies no bullets could pierce?

Pazzorello
That's by witchcraft.

Didimo
Thou'st hit the nail, boy! I will procure this feat done for thee; fear nothing, but be very secret. Thy head shall be an anvil and break all the swords that light upon't, and, for the shot, thy breath shall damp a cannon; it shall fall off like one of thy buttons.

Pazzorello
If this could be compassed, I should love witches the better while I live.

Didimo
Here's my hand. Something shall be done, but put on a brave outside of resolution for the credit on't, that the world may believe 'tis thy valor puts thee upon desperate actions from which a charm shall bring thee off, or the devil shall nay to somebody. Enter Rosinda, Cassandra [and] Flavia.
Here's the Princess. Look high, and let me hear how you'll deserve the benefit.

Cassandra
755
Madam, I know not in what language to
Express those humble thanks my soul is full of.
It shall be justice, you command this life
You have preserved.

Rosinda
We should have forfeited
Humanity not to have relieved you
760
In such distress.

Enter Horatio.

Horatio
Shall I not trespass, madam,
Beyond your mercy by this bold intrusion?

Rosinda
My lord, you're welcome.

Horatio
Your grace honors me, but to you, lady,
I am directed.

Cassandra
To me, noble sir?

[They walk apart.]

Pazzorello
765
We shall be rusty here, for want of use.
Oh, for an action of battery! I long
To fight pell-mell with somebody.

Rosinda
Pazzorello?

Didimo
He's grown most strangely valiant.

Flavia
How he looks!

Pazzorello
Madam, I have an humble suit to your highness.

Rosinda
To me? You're like to prosper in't.

Pazzorello
I beseech you I may not be a common soldier: I would cross the seas for something. Let me be gentleman of a company, and let the bullets fly as fast as they can.

Rosinda
I must confess you ask a place of honor but of danger.

Pazzorello
Danger's an ass! Oh, that I were to fight with the General now for two crowns!

Flavia
A mighty wager!

Didimo
He means both the kingdoms.

Pazzorello
I would desire no more than my finger against his musket. If we make no assault presently against the walls, I shall go near to mutiny and kill two or three of our own captains.

Rosinda
This he that was seasick!

Pazzorello
Oh, there is no honor like to marching in the van! I'll not give a rush for a man that won't lie perdu half a year together and come up to the teeth of a cannon.

Didimo
To the cannon’s mouth; I speak by a figure.

Pazzorello
Now you talk of the mouth, I will eat every day this leaguer four-and-twenty cannon bullets buttered and, as many Spanish pikes for asparagus, their steel points will fortify my stomach. I will kill my hundred men an hour for a twelvemonth together.

Flavia
You'll not have men enough to conquer.

Didimo
When the men are all dead i'th'town, he'll lie with all the women and get as many more, rather than want enemies.

Pazzorello
Oh, how I could demolish man, woman and child now!

Rosinda
I see your spirit and must cherish it; I'll speak to my lord. You may have your desire, but be not seen in't for your honor.

Pazzorello
He's here, indeed. [seeing Horatio] – Didimo, when shall I be bewitched? An the devil do not put me in good security –

Didimo
Trust me for that; let's leave 'em about it.

[Exeunt Didimo and Pazzorello.]

Horatio
Can you be cruel, lady, to that man
770
That offers you his heart?

Cassandra
Alas, my lord!
You ask mine in exchange, and I have made it
A gift already to Vittori: while
He lives, he must possess it. As you're noble,
Prosecute this no further.

Horatio
[Aside]
I have done;
775
Vittori then must die.

Enter King of Sicily, Trivulsi [and] Fabrichio.

King of Sicily
Horatio,
Command your prisoner be brought to us presently.

Horatio
I shall, sir.

Exit.

Cassandra
As you are a king, I beg your mercy
To poor Vittori.

Rosinda
I petition too
For her desires.

King of Sicily
Unless he will be cruel to himself,
780
His fate smiles on him. –
[To Cassandra]
Does he love you, lady?

Cassandra
Great sir, we are one soul; life cannot be
So precious as our loves.

King of Sicily
You shall preserve him. – Rosinda.

Rosinda
I obey.

King of Sicily
Leave us. –
Exit [Rosinda].
Thy health
Is but a prologue to his blessing; that
785
Paper
[Gives Cassandra a paper.]
speaks our intention, you shall
Present it. If he be wise, his judgment
Will meet our purpose; what we lost at sea,
We enable him to satisfy by a second
Proof of his courage, and propound not only
790
Life and his liberty but so great an honor
As next our title – there is left no glory
To equal it.

Cassandra
You're all bounty.

King of Sicily
There are some
Conditions: if you find him cool, you may
Apply what argument you find to warm
795
His resolutions.
[Re-]enter Horatio [with] Vittori.
Here he is, I leave you.

Vittori
I wait, sir, your command.

King of Sicily
She will instruct you. – Horatio.

Exeunt King of Sicily and Horatio[, and then Trivulsi and Fabrichio].

Vittori
Enjoys my best Cassandra perfect health?
The King is just, and I have not enough
With this poor life to satisfy –

Cassandra
Vittori,
800
We now begin our happiness! The King
Has been so gracious –

Vittori
All that's good reward him!
To see thee safe and smile, I write my ambition.

Cassandra
When you peruse that paper, you will find
How much we owe to providence. It was
805
The King's command I should deliver it;
The words were of such comfort that came with it,
I must be confident you'll thank him for it.

Vittori
What should this be?
(Reads.)
"Noble Vittori, we know you are a soldier and present you not with naked pity of your fortune. What some prince would take away we have purpose to cherish, your life; enjoy yourself, and with it the command of all our forces. Naples' ingratitude, if you have put no false shape upon your injuries, may be argument enough to your revenge and justice. Be our soldier, fight against your country so with one valor you punish them, and make us satisfaction; we will have pledge for this trust in Cassandra, whose head shall be the price of your disobedience."
Sure I have lost my understanding, ha?
810
Does it not bid me to fight against my country?
I prithee read, Cassandra, and repent;
Thou hast thought him merciful.

Cassandra
[Reads.] "We have pledge for this trust in Cassandra,whose head shall be the price of your disobedience."
The language is too clear.

Vittori
It carries more
Darkness than ever the night was guilty of,
815
And I look black already to have read it.
Does he call treason justice? Such a treason
As heathens blush at, nature and religion
Tremble to hear: to fight against my country!
'Tis a less sin to kill my father there
820
Or stab my own heart; these are private mischiefs
And may in time be wept for, but the least
Wound I can fasten on my country makes
A nation bleed and myself too, blasts all
The memory of former actions,
825
And kills the name we live by. O Cassandra!
Thou didst not well to praise the King for this.

Cassandra
His words did sound more comfort.

Vittori
Prithee tell me,
How canst thou hope I should preserve my faith
Unstained to thee and break to all the world?

Cassandra
830
Naples has been injurious, and we made
No solemn vow to love what hath betrayed us.

Vittori
Take heed, and do not grieve the saints to hear thee.
If Naples have forgot Vittori's service,
I must not make a desperate shipwreck of
835
My piety. What greater vow? It was
Articled in the creation of my soul
I should obey and serve my country with it
Above myself; death is a brave excuse for't.
No, he shall see I am a soldier
840
And dare be just; say he should torture me,
Shall wickedness be strong in punishment
And we not be as valiant in our suffering?

Cassandra
Can then Vittori be content to leave his
Cassandra to the misery of life
845
Alone? For in the number of mankind
I ne'er shall find another in whose love
I can place any comfort.

Vittori
Do not say so!
Princes will court thee then, and at thy feet
Humble their crowns and purchase smiles with provinces.
850
When I am dead, the world shall doat on thee
And pay thy beauty tribute; I am thy
Affliction and, when thou art discharged
From loving me, thy eyes shall be at peace;
A sun more glorious shall draw up thy tears
855
Which, gracing heaven in some new form, shall make
The constellations blush and envy 'em.
Or if thy love of me be so great that when I am sacrificed
Thou wilt think of me, let this comfort thee:
I die my country's martyr and ascend
860
Rich in my scarlet robe of blood, my name
Shall stain no chronicle, and my tomb be blest
With such a garland time shall never wither.
Thou, with a troop of wives as chaste as thee,
Shall visit my cold sepulcher and glory
865
To say "this doth enclose Vittori's dust,
That died true to his honor and his country."
Methinks I am taking of my leave already
And, kissing the wet sorrows from thy cheek,
Bid thee rejoice, Vittori is a conqueror
870
And death his way to triumph.

Cassandra
This is all
A new disguise for grief to make it show well.

Vittori
To make it show, indeed! I have talked idly
And miserably forgot myself. I am checked,
This tells me another tale: if I refuse
875
To obey the King's directions, he is not
So kind to take the forfeit of my life,
But he will make the price of my neglect
Cassandra's innocent blood. If I obey not
To do an act injurious to virtue,
880
Thy soul must be divorced.

Cassandra
Sir, I have read it,
And were not worthy of Vittori's love
To value this poor life above his honor.
Keep your high thoughts, preserve all peace within you;
You shall not buy my breath with your own shame.
885
I'll die with that devotion I ha' prayed for you,
Which, trust me, was most heartily, and I'll shed
No tears for my own funeral; if any
Unruly drop break forth when we are parting,
'Tis more to leave Vittori than the world.
890
Yet if thou wilt give me leave, I'll confess to thee,
Before my head fall from this other piece
I would deceive the hangman; for ere thou
Go from me, with a sigh into thy bosom,
I would convey my spirit and leave him
895
But a pale ghost to mock his execution.

Vittori
I cannot hold, this conflict is more fierce
Than many thousand battles. Canst thou die?

Cassandra
If you will have it so. You have taught me
To be in love with noble thoughts; I shall
900
Have some weep o'er my hearse, and when I'm gone,
Sealed by my blood a martyr for thy love,
The world shall praise me for it, and the virgins
And wives, if I obtain no other monument,
Build me a tomb within their hearts and pay
905
Their yearly songs and garlands to my memory
That died to save Vittori's life and honor.

Vittori
How should Cassandra die to save Vittori?

Cassandra
Allow it
So you be happy, and although my wishes
910
Are rather for the punishment of Naples,
More cruel than our enemies, yet if you
Think it dishonor to oppose that country,
I have a heart most willing to preserve
By any death your fame. Lose not a scruple
915
Of yourself for me; I carry thy love with me
And prophesy my story shall throw more
Disgrace on Naples than all thy revolt
Can bring upon thy name.

Vittori
I am in a tempest
And know not how to steer; destruction dwells
920
On both sides.

Cassandra
Come, resolve.

Vittori
I must – To let
Thee live, I will take arms. –
[Aside]
Forgive me then,
Great Genius of my country, that to save
Her life I bring my honor to the grave.

Exeunt.

[3.2]

Enter Fabio and Mauritio at several doors.

Fabio
I know not what to say to these garboils. There's a hot Naples toward, and the Prince is so humorous o'th'other side I dare not come near him. – Captain Mauritio!

Mauritio
Signor Fabio, you dishonor your body by straining so much complement.

Fabio
Your humble servant, Captain.

Mauritio
A court instrument, and so deep a base you forget yourself! Have the wars made this alteration? Keep your garb and be staunch, signor: a captain is a thing too coarse for your acquaintance, you won't know soldiers in peace.

Fabio
Alas, sir! The necessity of my affairs at court and place so devours my attendance that I cannot give that respect which is due to a gentleman of your quality. No neglect, I beseech you, sir.

Mauritio
I am glad 'tis come about, what do you think now of a musket bullet next your heart? 'Tis very provocative. Come, be not sad, thou mayst live a day or two longer.

Fabio
I hope, Captain, the state of the city is not so desperate.

Mauritio
We expect a battle every hour, and the walls to fly about our ears; if they should be patient, we ha' not provision to endure a siege. What will become of your pumps, signor, your wrought shirts and rich nightcaps? I say nothing of your wardrobe, jewels and other trinkets.

Fabio
I stand not upon them; my life is more precious to me than all these.

Mauritio
What pity it is, so profound a gentleman should die by gunpowder! What would you give to be saved now?

Fabio
How d'ye mean, Captain?

Mauritio
For your soul let it shift, I think thou hast little care on't thyself; there be many would give all their estate to outlive these combustions.

Fabio
I would I were sure on't, condition I lost half my land.

Mauritio
A match! My life against half your land to secure you and make an indifferent bargain presently.

Fabio
Your life? How are you sure to live?

Mauritio
If I die, you have half your land by't; if you live, 'tis worthy dividing transitory fortunes, I shall ha' the worst match on't.

Fabio
But how will you assure me, Captain?

Mauritio
Thou art not senseless! Why, your venture is but land against my life, which is more precious, I hope, than thousand acres; is not this to be considered? Clap hands, and we will have articles drawn for mutual assurances. I do not this to every man, but I hope to have good on thee hereafter. Enter King of Naples, Prince, Julio [and] Alberto.
The King!

Fabio
And Prince.

Mauritio
Let's withdraw then, and conclude 'tis a safe bargain for you, sir: if you fail, what would all your estate do you good? And then I forfeit my life; if you scape, I have but half your land.

Fabio
I understand and thank you, noble Captain.

Exeunt.

King of Naples
Alphonso must be sent for out of prison,
925
He's an experienced soldier.

Prince
To betray us?

King of Naples
Now we are punished for Vittori's banishment.

Prince
Your fear will make us cowards.

Julio
Shall we make
A sally forth?

King of Naples
Alberto.

Prince
We'll expect more
Advantage first, they have finished their redoubt.
930
Is our river guarded with a sconce?

Julio
On that part
No enemy can endanger us.

King of Naples
What if you
Tested Alphonso? He has been ever faithful,
And we too rash.

Prince
Keep prudent watches, Julio,
Something i'th'evening may be attempted.
935
Death is the worst, and better fall with honor
Than owe our life to fears. I would Cassandra
Were in their camp. O Julio!

Julio
'Twere better
She were at home in your possession.

[Enter Fabio.]

Fabio
A herald, sir.

Prince
Admit him.

[Exit Fabio.]

King of Naples
Alberto, Julio.

Exeunt [Alberto and Julio].
[Re-]enter [Fabio], with Vittori [disguised as] a herald.

Prince
940
What's the complement now?

Vittori
Thus Naples is saluted from my master:
Provoked by injuries above the patience
Of kings to suffer, without thirst of blood
Or pride of conquest, he is come in arms
945
To ask a satisfaction. If you would
Not know the fury of a war, which acts,
Such horrid ruins 'gainst men and nature, that
Repentance cannot easily absolve
The guilt in them that caused it, meet conditions
950
And deserve timely my great master's friendship
With mercy on yourselves.

Prince
Mercy!

King of Naples
Be temperate.

Vittori
Remember , wounds are made more easily
Than cured, and now arrived within your country,
Revenge may spread a wild destruction.
955
Let mothers still enjoy their sleep and dwell
Within their husbands' bosom; let their children
Live to requite the parents' groan and prosper;
Let old men pay their debt only to nature,
And virgins dedicate their yet chaste womb
960
To Hymen's holy use, or at their choirs
With freedom of their souls sing holy prayers
For the sweet peace you lend 'em to serve heaven.

Prince
This fellow's sent to mock us; in my heart
I repent all the tie of arms and nations
965
That gives such saucy freedom to a herald.

Vittori
I claim my privilege and dare say more.

Prince
What more?

Vittori
Vittori is our general.

King of Naples, Prince
Vittori? Dares that traitor –

Vittori
When kings leave
Their justice and throw shame upon deservers,
970
Patience so wounded turns a Fury.

Prince
How!
Dares Sicily trust him?

Vittori
Yes, he has good pledge;
Too great a pawn.

Prince
[Aside]
This, this vexation
I did expect, but we must not be frighted.
Tell your insulting master he shall find
975
Men that both dare and can resist this fury.
Conditions we despise, nor let him magnify
His purchase in that rebel; every soldier
With us hath equal courage to Vittori,
But a soul far more honest.

Vittori
Honest?

Prince
So, sir;
980
This war shall justify upon his heart.

Vittori
[Aside]
I dare not stay to hear more, least my passions
Betray me; what a fire this language has
Shot through my blood! The poor old king says nothing,
But fills a place like a state cipher.

Prince
Herald,
985
Return this to that giant of your war,
Vittori; in his absence, we shall find
A punishment for his treason. And, to cool
His hot veins, say the first attempt he makes
Against us shall as valiantly be answered
990
With his father's head.

Vittori
Ha!

Prince
By thy master's soul
It shall! And this is all our answer. See
Him safe without the walls.

Exeunt [all but Vittori].

Vittori
Thunder has struck me!
I feel new stings about my heart: my father?
Was ever man so miserably thrown
995
Upon despair? If I refuse their war,
I lose my wife Cassandra; if I fight,
My father bleeds. Some divine arm sustain
My feeble soul, instruct it how I should
Distinguish sorrow and which blessing rather
1000
I should now part with: a dear wife or father!

[Exit.]

4[.1]

Enter Rosinda [and] Cassandra.

Rosinda
But did the Prince affect thee so, Cassandra?

Cassandra
I have told you, madam, every circumstance;
I should but flatter my own misery
To speak it less. Misfortune had not made me
1005
Your prisoner now if he had been more temperate.

Rosinda
But did thy heart allow him no affection?
Thou wert much unkind.

Cassandra
He had my duty, madam,
Which still I owe him as my prince, but I
Had but one faith, and that was given Vittori.
1010
I fear I have displeased you.

Rosinda
No, thou hast not.
Dost think he loves thee still?

Cassandra
I know not, madam,
But I hope not.

Rosinda
Would I could hope so too!
Thou hast deserved my confidence, and although
Thou canst not help me, I must tell thee all.
1015
I love that Prince, loved when I first saw him,
And when he courted me, I thought 'twas necessary
To show I had a soft heart, but he flattered
And took too soon occasion of his absence.
The wounds he left upon Horatio
1020
Were not so deep as mine, which howsoe'er
I have disguised yet from my father's eye,
Can find no cure without his surgery
That left them in my bosom; to this end
I urged my father to this war and begged
1025
With many prayers to witness his revenge.

Cassandra
That was a desperate remedy. How if
Your father be o'ercome and you made prisoners?

Rosinda
We shall find death or ransom: the first would
Conclude my sufferings; th'other not much harm us,
1030
Perhaps advance my ends. But if the victory
Should crown our army, I should interpose
To make conditions for the Prince; fate must
Decide one of these ways.

Cassandra
Madam, I pity you.
Sure if the Prince knew with what constancy
1035
Your love breathes after him, he would find a passion
To meet your noble flame.

Rosinda
I know not whether
To pray for victory or to be conquered,
For till the wars conclude I must despair
To see whom my desires pursue.

Cassandra
'Tis possible
1040
That you may see him, madam.

Rosinda
When?

Cassandra
This night,
And speak with him, without exposing your
Person to any danger.

Rosinda
Prithee do not
Mock me, sweet friend.

Cassandra
You were compassionate
Of me, and 'tis but duty I should answer it
1045
With my desires to serve you. Not to hold
Your thoughts in expectation, is there any
Gentleman near whom you dare trust?

Rosinda
With what?

Cassandra
With carriage of a paper. I shall run
Some hazard, but there's nothing can weigh down
1050
That goodness you have showed me, being a stranger.
I'll frame a letter, madam, in my name,
And by some charm of love invite him to
Your tent; if he retain part of that flame
Which did so command in him, be assured
1055
The Prince will come.

Rosinda
Thou wert create to make
Me blest, but with what safety can he reach
Thus far and not be known?

Cassandra
He to whose trust
You give this secret shall remove that fear.

Rosinda
There is a captain –

Cassandra
Best of all.

Rosinda
Fabrichio.

Cassandra
1060
Send for him straight: if you allow this device,
I'll presently dispatch the amorous summons.

Rosinda
I'll call thee sister!

Cassandra
Call me servant, madam;
In that I am honored.

Exit.
Enter Flavia disguised [as a hag].

Flavia
Are you ready, madam?

Rosinda
For what?

Flavia
To laugh; I am turned enchantress, and now 'tis upon the minute, Pazzorello, by the boy's directions, comes for his magical armor.

Rosinda
I have something of more consequence to finish, but I may be at the end of your mirth.

Exit.

Flavia
Prosper in all your wishes.

Enter Didimo.

Didimo
Flavia! That's excellent, Hecate never looked so dreadfully. Where's the Princess?

Flavia
She commanded not to expect her, but she'll not be long absent. Where's the gamester?

Didimo
Almost within reach of your voice. You'll remember the circumstance, that he may be capable of the charm; he's mad to be enchanted.

Flavia
I warrant you; I have some furies to assist me too. Conduct him hither. [Exit Didimo.]
If the fool after this conceiving himself bewitched should grow valiant and do wonders, who can help it? If he have but the wit to keep his own counsel, let him take his course. But he approaches.

[Re-]enter Pazzorello and Didimo.

Didimo
That is she.

Pazzorello
That old hag?

Didimo
Good words! She has come two hundred mile to day upon a distaff: salute her, she expects it.

Pazzorello
Would you have me kiss the devil?

Didimo
Do, I say. –
This is the gentleman, my loving aunt,
1065
For whom I do beseech your powerful spells.

Flavia
To make him slick and shot-free?

Didimo
Right, dear aunt.
He is a precious friend of mine, and one
That will be ready servant to your pleasures
At midnight or what hour you please to call him.

Pazzorello
Thou wouldst not ha' me lie with the old witch? What a generation of hobgoblins should we have together!

Didimo
1070
Nor, for this benefit, shall you find him only
Obedient to yourself, but very dutiful
To any devil you have.

Flavia
He is welcome, child.

Pazzorello
What a saltpeter breath she has!

Flavia
Where is Mephistopheles?

Pazzorello
No more devils, if you love me.

Flavia
I must have some to search him.

Pazzorello
Search me? Where? For what?

Didimo
How much was I overseen not to give you warning! Be not afraid; what have you about you?

Pazzorello
About me, where? In my breeches? What do you mean? I shall be cut for the stone.

Didimo
Have you any money about you?

Pazzorello
Yes, I have money of all complexions in my pocket.

Didimo
Away with it, as you love yourself! Not for your right hand have one piece of gold or silver about you, no charms can fasten on you then; her spells can have no power if you do not throw it away instantly – give me't, I'll keep it from her knowledge, this were a trick indeed –. Have you no goldfinches in your fob?

Pazzorello
I defy him that has anything in the likeness of coin.

Didimo
This is all money in your pocket, and come to be made shot-free!

Pazzorello
What must I do now?

Didimo
Kneel down and expect with obedience and admiration what will become on you. – [Pazzorello kneels and Didimo blindfolds him.]
Great aunt, the gentleman is clear and ready. – You are sure you have no more impediment of this nature? If you dissemble and be killed afterward, thank yourself.

Flavia
Where be my spirits?

Didimo
He humbly desires you would finish him as privately as might be: he does not know the constitution of every devil, and to make too many acquainted, if he could be finished otherwise, your art may dispense.

Flavia
He must cut off his little finger, then.

Pazzorello
How! Cut off my finger?

Didimo
What did you mean? Here's a ring, a diamond.

Pazzorello
I had forgot it.

Didimo
No more, off with't if you love your hand! Here's a jest to fool away your life quickly; not for the world present it to her. – Great lady of the Laplanders, this gentleman implores your mercy to his joints, and offering this trifle, humbly prays you would honor him to wear it for his sake.

Flavia
Comes it freely off?

Pazzorello
It came off very hard, but I beseech your learned beldamship to accept it as a token of my duty.

Flavia
I do, and thus prepared, delay
My charms no longer. – "Come away,
1075
You spirits that attend upon
This powerful incantation.
Have you brought that sacred juice
Which at such a time we use?
Distil it gently I command,
1080
Holding his ears with either hand."

[Didimo pulls his ears and throughout the scene continues to play the part of the spirits in beating and kicking Pazzorello as Flavia directs.]

Pazzorello
Oh, my ears!

Didimo
The more pain she puts you to now, the less you'll feel hereafter, sir.

Flavia
"Now rub his temples, forehead eke,
Give his nose a gentle tweak.
Strike off paleness and bestow
On either cheek a lusty blow,
1085
Take him by the hair and pull it;
Now his head's free from sword and bullet."

Pazzorello
[Aside] What will they do with the rest of my body?

Flavia
"Grasp his neck till he groan twice."

Pazzorello
Oh, oh!

Flavia
"Enough, now let the young man rise,
Thus on his shoulders I dispense
1090
My wand to keep all bullets thence
And other weapons that would harm.
Pinch him now on either arm,
fairy-like."

Pazzorello
Oh, pox o' the devil – oh!

Flavia
"On his breast give him a thump
1095
And two kicks upon the rump.
No circumstance must be forgot
To make him free from stick and shot,
And now my potent charms are done.
This man is free from sword and gun."

Didimo
Bounce! You're made forever.

Flavia
1100
"Farewell to both, for now must I
On my wingèd jennet fly. –
Suckle and Hoppo, fetch long strides
By your mistress as she rides.

Exit Flavia, [Pazzorello rises, and then Didimo unbinds his eyes].

Pazzorello
Whither is she gone now?

Didimo
Home to a witches' upsitting; she's there by this time.

Pazzorello
Where?

Didimo
In Lapland; she will cross the sea in an egg-shell, and upon land hath a thousand ways to convey herself in a minute: I did but whistle and she came to me.

Pazzorello
She knows your whistle, belike! Well, art thou sure I am enchanted now?

Didimo
It concerns you to be sure on't, and I must tell you one thing: if you make the least doubt on't, you'll endanger all; charms in this kind are nothing without the imagination, believe it, and if any sword or bullet have power to hurt you, ne'er trust your granam again.

Pazzorello
Nay, nay, I do believe it and will be valiant accordingly; they pinched and kicked me devilishly for all that.

Didimo
You're the better proof for't; you cannot be pinched or kicked too much in such a cause. What! To be made slick and shot-free? Now do I foresee you'll be captain within these three days; you cannot avoid it, sir, who will not honor that man whom the bullets are afraid of? [Re-]enter Rosinda, Cassandra [and] Fabrichio.
The Princess.

Fabrichio
Repent your grace thought me a gentleman
1105
If I fail in this duty.

Rosinda
Not a syllable
Of me.

Fabrichio
I am charmed.

Cassandra
Happy success attend you!

Fabrichio
Your highness has much honored me, and, lady,
I kiss your fair hand.

Pazzorello
Captain, Captain, a word!

Fabrichio
I am in haste now.

Exit.

Pazzorello
Sure the Captain's afraid of me: he knows by instinct what I am.

Didimo
Your grace missed excellent mirth.

Rosinda
'Tis done then? Bid him follow us.

Exeunt [Rosinda and Cassandra].

Didimo
The Princess desires to speak with you.

Pazzorello
Desires to speak with me! – You have not told her?

Didimo
D'ye think I would betray you?

Pazzorello
Would somebody would challenge me to fight before her! If the ladies knew I were stick-free, they would tear me in pieces for my company.

Didimo
You do not know what you may get by your body that way; I attend you.

Pazzorello
Knives, daggers, swords, pikes, guns, both great and small,
1110
Now Pazzorello doth defy you all.

Exeunt.

[4.2.]

Enter Alphonso [and] Alberto.

Alphonso
You tell me wonders: my son, General
Of all the enemy's forces? Can Vittori
Lay such a stain upon our family?
Speak it, my lord, no more: no private injury
1115
Can so corrupt his nature. Come, I know
He dares not fight their cause!

Alberto
I think so too;
The Prince hath cooled his resolution
By this time.

Alphonso
Ha? You are mystical.

Alberto
He has sent
Him word, the first attempt he makes against
1120
The town, your head must answer it. I cannot
Believe howe'er particular wrongs inflame him
To a revenge, but he retains that piety
Which nature printed in him toward a father.

Alphonso
Is obligation to a parent more
1125
Than that we owe our country? O Vittori,
My life were profitably spent to save
Thy honor, which is great in the world's eye!
Time shall be grieved to have preserved thy name
So long, and when this blot shall be observed
1130
Upon the last leaf of thy chronicle,
It shall unsettle quite the reader's faith
To all the former story.

Enter Julio.

Alberto
Julio.

Julio
My lord,
It was the King's command I should deliver –

Alphonso
What?

Julio
What must displease you:
1135
You must prepare for death.

Alphonso
Has my son put
Rebellion into act already? That
Will save my executioner a labor;
He has, I read it. Look into the tombs
Of all our ancestors and see their ashes
1140
Look paler than before: the marble sweats,
The ebony pillars that so many years
Sustained our titles shake and sink beneath 'em,
The genius of our house groans at this treason.
I will not live for any man to tell me
1145
I am Vittori's father.

Enter Prince.

Alberto
Here's the Prince!

Alphonso
Forgive me, sir, my passions; I have guilt
Enough without 'em to deserve your anger.
He was my son, and that must needs condemn me,
But I will lose him from my blood and cut
1150
His name from that fair list that numbers up
Our family. But I forget myself:
I have no minutes at command, my life
Is at the last sand, and I cannot stay.
Be just and purge Vittori's sin with his
1155
Old father's blood, I do obey your doom.

Prince
What doom? You talk as you were destined
To some black execution. I have
Been too unkind already and must ask
Your gentle pardon for't; by goodness' self
1160
I mock not. I bring life, Alphonso, to thee,
And but prepared, by Julio, thy heart
With sorrow to meet honor with more taste.

Alphonso
Good, my lord, distract me not; let me die
In my right wits.

Julio
Alphonso, you may trust
1165
The Prince: my message was but counterfeit.

Prince
Thou'rt a brave man and canst not be provoked,
I see, to wound thy honest fame, so just
To virtue that thou dar'st prefer her cause
To thy own life, and rather violate
1170
The laws of nature to thy son than leave
(Exit Julio.)
The privilege of honor undefensed.
Thus we embrace thee – do not kneel, Alphonso,
Unless you'd bring us lower; thus, as a friend
We circle thee, and next, as a soldier
1175
Able in spite of age and active still,
We give these arms, this sword, the best in all
My father's armory and used to conquest.
Take from thy Prince and fight, fight for thy country,
And purchase new wreaths to thy honored brows
1180
Before the old be withered. I do see thee
Already mounted as a challenger,
The proud steed taking fire and metal from
The rider, all bedewed with his white foam,
Flying to meet thy son, whose (once fair) plume
1185
Is stained with blood of his own countrymen.

Alphonso
I reach your sense in part, my lord, but cannot
Gather your words into a sum; beside,
The honor is so great I dare not, with
The safety of my understanding, think
1190
One so unworthy as Alphonso –

Prince
What?
Dares fight against a traitor, for his country?

Alphonso
'Gainst all the world I dare.

Prince
Be valiant
And breathe defiance against one.

Alphonso
A glory
My soul's ambitious of!

Prince
Vittori is
1195
That traitor whose offense, whom dost become
More nobly to chastise than his own father?
Which title, if you should forget to encourage you,
Think whose defense you undertake for whom
You punish, and what consequence of fame
1200
Waits on this pious action.

[Re-]enter Julio.

Julio
My lord,
A captain of the other side hath boldly offered
Himself a prisoner and desires access
To your highness, to whom only he must impart
Something he says that will be acceptable.
1205
We have searched him and find nothing but a letter
Directed to yourself.

Prince
To me? Admit him. –
[Exit Julio.]
Meantime you may consider. –
Enter Fabrichio [with Julio].
Is it with us, Captain?

Fabrichio
Please you peruse this paper.

[Gives him a letter.]

Prince
1210
Ha! From Cassandra?

Alphonso
O Alberto, I
Could wish Vittori dead! But 'twill not satisfy
Unless we murder one another too.
I must challenge him: he is my son
Although he be a rebel.

Prince
Julio,
1215
Thy bosom is my own. – Captain, a word.

[Walks aside with Fabrichio.]

Julio
I am astonished, ha? I like not this. –
My lord.

[Goes up to Prince.]

Alberto
The Prince is troubled, something like
Excess of joy transports him.

Prince
Thou'rt a fool!

Julio
This may be a plot; how dare you trust yourself
1220
Upon this invitation?

Prince
Not on this?
[Shows Julio the letter.]
Be coward then forever!

Julio
Are you sure
This is her character?

Prince
Perfectly;
Beside, she has confirmed me by this ring.
Vittori gave it her, I know't, and wooed her
1225
Once to exchange.

Julio
Yet think upon the danger.

Prince
I would run
Through flames to meet her: use no arguments,
I can be at the worst a prisoner,
And shall be ransomed; keep you counsel, sir. –
1230
Captain, the word?
[Fabrichio whispers to Prince.]
Enough.
Kiss her white hand and say
I come this night. –
[To Alberto]
Wait on him to the gates,
Let his return be safe.
[Exit Alberto with Fabrichio.] –
Alphonso, how
Stands your resolve? Dare you be Naples' champion
1235
Against the enemy proposed?

Alphonso
My son!
Will both the Kings trust to our swords their cause?

Prince
I cannot promise that.

Alphonso
What profit brings
My valor, then, if I o'ercome?

Prince
Addition
To your own fame, to have cut off a rebel.

Alphonso
1240
So I must kill my son, or he must be
A parricide.

Prince
Nay, if you be so scrupulous –
I looked you'd have thanked me, and have run to't.

Alphonso
Except Vittori, sir, and I dare challenge
The proudest in their army.

Prince
You are afraid
1245
Of him, belike; 'tis such a kill-cow gentleman!
But I court you to nothing; you may think on't,
You're now no more a prisoner. – Julio!

Exeunt [Prince and Julio].

Alphonso
I am worse.
I had some room before; now, I'm confined
To such a strait my heart must of necessity
1250
Contract itself. My own thoughts stifle me.
Vittori is lost already; I must go
Another way to find out my own ruin.

Exit.

[4.3]

[Enter] Horatio [and] Cassandra.

Horatio
Lady, you think not what I am, how near
The bosom of a king.

Cassandra
You cannot be
1255
So near as I am to Vittori, sir,
And you increase my wonder that you can
Nourish the least hope that I should forget
My own tie by rememb'ring what relation
You have to any other. If the King
1260
Did know this, he would chide you.

Horatio
Come, I see
You must be courted otherwise, with action.

Cassandra
How, sir?

Horatio
And if you will not be so civil
To change one kindness for another, I
Have skill to prompt you thus.

[Kisses her.]

Cassandra
You are not noble!

Horatio
1265
Tush, this is nothing! I have been too tame,
And howsoe'er you wittily compose
Your countenance; you cannot choose but laugh at me,
That I have been so modest all this while.
Come, I have another inside, and do know
1270
You are a woman and should know yourself
And to what end we love you; what are you
The worse by private favors to a gentleman
That have at home been sued too with petitions,
And great ones, of both sexes to accept
1275
Wives, daughters, anything, and think themselves
Honored to take the first fruits? I could have
The virgins of whole families entailed
Upon me and be brought as duly to
My bed, as they grow ripe and fit for coupling,
1280
As men whose lands are mortgaged would observe
Their covenants and the day.

Cassandra
I'll hear no more.

Exit.

Horatio
So peremptory, lady? Take your course,
The time may come you will repent this forciveness. –
Enter Fabrichio.
Whither in haste, Fabrichio?

Fabrichio
My good lord,
1285
I have brought news. Where is the Princess, sir?

Horatio
Thou art almost out of breath. What news, I prithee?

Fabrichio
News that will please my lord.

Horatio
You ask for the Princess, will they please my lady?

Fabrichio
Yes, and the t'other lady too, Cassandra.

Horatio
1290
Will it spread joy no farther?

Fabrichio
Yes, it will please you,
And please the King and the whole army.

Horatio
Strange!
You may impart it then.

Fabrichio
My duty, sir,
Did aim it first to you; I was engaged
To deliver a letter in Cassandra's name
1295
To the Prince of Naples, to invite his person
Privately this night.

Horatio
Whither?

Fabrichio
To the Princess' tent.

Horatio
And hast thou done't?

Fabrichio
Done't, and bring back his word to visit 'em.

Horatio
Art sure, the Prince?

Fabrichio
As sure as I am your creature.
1300
This will be welcome to the ladies, what use
You are to make of this, becomes not my
Instruction; if it be of any consequence,
To make his person sure, when he arrives –

Horatio
[Aside]
This service will be grateful, I'll acquaint
1305
The King. – Return the ladies to expect him.

Fabrichio
I have directed him how he shall pass.

Horatio
And make it good, away! This makes thee happy.
The King shall know it instantly; they're here,
I'll give you scope.

Exit.
Enter Rosinda, Cassandra, Flavia and Didimo.

Rosinda
He is returned.

Cassandra
What answer?

Fabrichio
1310
To your desires.

Flavia
Where's Pazzorello now?

Didimo
He's quarreling with somebody; he is so confident and domineers – Enter Pazzorello, bloody.
Ha? 'Tis he! He bleeds too.

Pazzorello
A pox o' your enchantments! I had like to have my brains beaten out. What will become of me?

Didimo
Why, this is nothing, sir.

Pazzorello
"Nothing, sir." [Mocks Didimo.] Would thou hadst it!

Didimo
Let me ask you a question, what weapon did it?

Pazzorello
I gave but the lie to an old soldier, as we were drinking together, and he presently claps me o'er the pate with the rest of his musket.

Didimo
That may be, but no sword or gun shall endanger you; as for truncheon, baton and such wooden batteries, you must fortify yourself as well as you can against 'em. Beside, sir, there is no breach of conditions in losing a little blood: you may have your head broken in twenty places, nay, you may be beaten and bruised in every part of your body, but all this while you are slick and shot free your life is your own, and then what need you care, sir?

Pazzorello
This is some satisfaction.

Didimo
Should you challenge him at rapier, you should quickly find who will have the worst on't.

Rosinda
This service shall be otherwise rewarded:
I'll trust your secrecy,
He will be a fit man to engage; beside,
'Tis his desire.

Fabrichio
You may command me.

Rosinda
Wait upon
1315
This gentleman, Pazzorello! He
Will use you nobly for my sake.

Pazzorello
Must I
Be a perdu now? Madam, I humbly thank you.

Exeunt Fabrichio and Pazzorello.

Cassandra
The night comes fast upon us.

Rosinda
It cannot come
Too swiftly that brings so much happiness.
1320
But 'tis an argument of much love to thee
That can at such a time invite him hither.

Cassandra
I hope you feed no jealousy of me.
I did all for your service, and shall then
Think I am happy when he knows your love
1325
And values it.

Rosinda
I have no fears of thee!

Cassandra
Have none at all.

Rosinda
Flavia!

Flavia
Madam.

Rosinda
You must keep watch tonight.

Flavia
My duty, madam.

Rosinda
Come, let us tell some stories to pass over
The tedious hours.

Cassandra
I wait your pleasure.

Flavia
1330
Come, Didimo, we shall have your tale too.

Didimo
Mine's short and sweet, still at a lady's service.

Exeunt.

[4.4]

Enter [a] Sergeant [and] Pazzorello.

Sergeant
Follow me close; I hope you have made your will.

Pazzorello
My will? Why, Sergeant, I am not sick.

Sergeant
For all that you may be a dead man ere morning – [Firing heard.]
Whizz!

Pazzorello
What's that?

Sergeant
These bullets will keep you waking! Here, lie down close; within two hours you shall be relieved.

Pazzorello
Dost hear, Sergeant? [Again.]
Whizz! Do the enemies shoot any sugar-plums?

Sergeant
Be not too loud in your mirth; I see another give fire. Farewell, signor Perdu.

[Exit.]

Pazzorello
So, now I am a perdu; this will be news when I come home again, the poor fellows will fall down and worship me! I always wondered why we had so many brave soldiers and quarreling spirits; if they be shot-free, I cannot blame 'em to roar so much in taverns. [Again.]
Whizz! Again, I would fain have one of these bullets hit me, that I might know certainly the toughness of my new constitution and yet I shall hardly be sensible of it. Ah, my conscience! If I were crammed into a cannon and shot into the town, like a cat I should light upon my legs and run home again!

Enter Prince.

Prince
Love be propitious still and guide my steps!
Thou hast engaged me thus far.

Pazzorello
Uh, uh!

[Coughs.]

Prince
Who's that?

Pazzorello
[Aside] There's somebody; now I begin for all this to be afraid. Flesh will be flesh and tremble, in spite of the devil. What were I best to do?

Prince
'Tis some perdu.

Pazzorello
[Aside] Though I be stick and shot-free, I may be beaten and bruised, as I remember; more, I may be taken prisoner by the enemy and be hanged afterward, and then what, am I the better for my enchantment? What a dull rogue was I not to except the gallows in my conditions! But it may be there is but one.Qui va là? The word?

Prince
Rosinda!

Pazzorello
Oh, are you there? 'Tis my lady the Princess' name!

Prince
Thy lady? Prithee show me the way to her tent.

Pazzorello
[Aside] I had almost forgot such a gentleman is expected.

Prince
Here's gold, prithee make haste.

Pazzorello
Now, by your favor, you shall first go to my Captain.

Prince
His name?

Pazzorello
Fabrichio.

Prince
The same; with all my heart, here's more gold.

Pazzorello
I will make the more haste.

Exeunt.

[4.5]

Enter King of Sicily, [and behind] Horatio and a guard.

King of Sicily
Thy news does take me infinitely; if he
1335
Keep touch, we may propound what articles
We please.

Horatio
Fabrichio is confident he'll come.

King of Sicily
He will deserve our favor; keep at distance.
Sent for in Cassandra's name? Belike
He loves that lady, let him. 'Tis a strange
1340
Adventure, sure my daughter is of counsel
With her; she had some bend that way, till he
Became ingrateful to us.

Horatio
When you have
Him in possession, you may throw off
Vittori, on whose honesty I fear,
1345
Under your princely favor, you have built
Too much, but heaven has sent the young Prince hither
To disengage your trust: he that dares prove
A rebel to his country, dares be guilty
Of any other treason.

King of Sicily
What shall we
1350
Do with Cassandra?

Horatio
Keep her still to wait
Upon the Princess, and expect the first
Opportunity for your kingdom. Naples will
Attend your leisure then, and court your mercy.

Enter Prince, Cassandra, Rosinda [and] Flavia, [followed by] Pazzorello aloof.

King of Sicily
Be silent.

Horatio
Lose no time.

Prince
For this embrace,
1355
I dare again neglect my life –
[The King and Horatio come forward, and then the guard seizes the Prince.]
villains!

Rosinda
We are betrayed – my father!

Cassandra
O misfortune!

Pazzorello
What will become of me?

King of Sicily
You're welcome, Prince of Naples.

Prince
Am I betrayed? False woman!

Pazzorello
An't please your majesty, I am innocent; I brought him hither, I confess.

King of Sicily
Reward him.

Horatio
Come hither, sirrah.

Pazzorello
How's this? Are you in earnest? My lord, a word – But is this the Prince of Naples?

Horatio
The very same, sir.

Pazzorello
Take your gold again, I will have more for taking a Prince; I crave the law of arms, I will have his ransom.

King of Sicily
Away with the fool!

Pazzorello
Give me my prisoner again, then.

Exit.

Rosinda
Sir, hear me.

King of Sicily
Another time, Rosinda. –
By thy duty –

Exit Rosinda and Flavia.

Cassandra
Hear me, great sir.

King of Sicily
We'll hear and thank thee at more leisure too.
1360
Attend our daughter.

Cassandra
O my lord, be you
But master of so much charity.

Prince
Away!
Never was such a black and fatal hour
As that when I first saw thy cozening face.

Enter Vittori.

Vittori
[Aside]
The Prince? I dare not trust my senses, ha?
1365
How came he hither? Wonder circles me,
Cassandra busy with him too! She courts him –
The basilisk is not more killing than
This object.

Prince
Strumpet, hence!

Vittori
Ha?

Cassandra
My lord Vittori!

Vittori
What name was that the Prince bestowed upon you?
1370
Yet do not answer me – away, new tortures!

Exit Cassandra.

Prince
Vittori! Ha, ha, ha!

Vittori
Your grace is mighty merry; I could wish
You had more cause.

Prince
Vittori, I see trouble in thy face;
1375
Perhaps 'tis wonder upon what invitation
I am a guest here.

Vittori
Are you not a prisoner?

Prince
You are no stranger to the plot, it seems.
Base villain, to betray thy Prince!

Vittori
My lord,
You are too rash in censure – I betray you?
1380
I am so far from the conspiracy
That yet I cannot reach it in my thought,
Much less with guilty knowledge! I dare tell you
The devil sha'not tempt me to't, nor more
Wrongs than your hate can throw upon me.

Prince
Juggling!
1385
Can he that dares take arms against his country
Make conscience to betray a part of it,
His Prince? Degenerate rebel!

Vittori
Heaven and this King
Know upon what severe necessity
I am engaged to war.

King of Sicily
As things fall out
1390
Your valor may be useless. We acknowledge
This happiness from Cassandra, though she meant
Other success.

Vittori
Cassandra?

Prince
Yes! That piece
Of frailty, rather impudence, by the witchcraft
Of her letter tempted me thus far – a curse
1395
Upon her lust!

[Gives Vittori Cassandra’s letter.]

Vittori
Indeed you called her strumpet,
She may deserve it by this story. 'Tis
Her character! My eyes take in new horror.
(Reads.)
"My lord, if it be not too late to be sensible of your princely affection to me, I implore your mercy and will deserve it by my repentance. I am by misfortune a captive to your enemy, but blest with the freedom to remember you, I have a design for my enlargement, and if I durst cherish an ambition of your presence this night, dare confidently pronounce our mutual happiness. This ring be witness of my true invitation, and doubt not her faith to your safety, who will sooner forfeit her own life than betray you to the least dishonor. This gentleman shall instruct you with more particulars; pardon, great prince, this infinite boldness of your servant, and if all the seeds of love be not destroyed, visit and preserve your otherwise miserable Cassandra."
And all this while I live and have my senses.
O woman, woman! –
[To the King]
Sir, if you remember,
1400
'Twas your conclusion, if I refused
To be your General against my country,
Cassandra's head should off. Be constant, King!
I won’t.

King of Sicily
What?

Vittori
Not fight, nor for your kingdom;
She cannot bleed too much. –
[To the Prince]
As for you, sir –

Prince
1405
What of me?

Vittori
You're still my Prince, thank heaven for that.
Did you else grasp an empire and your person
Guarded with thunder, I would reach and kill you,
By my just rage I would! Stay, I will fight.

Horatio
With whom?

Vittori
1410
With you, or all the world, that dare maintain
There is a woman virtuous.

Horatio
Neglect him.

Prince
How he breaks out at forehead! This is some
Revenge yet.

King of Sicily
Come, my lord, you must with us. –
[To Vittori]
Here your command determines; we shall have
1415
No further use of your great valor, sir.

[Exeunt all but Vittori.]

Vittori
You may with as much ease discharge me of
A life too: your breath does it, for I dare
Not kill myself; in that I am a coward.
O my heart's grief! Preserve my right wits, heaven:
1420
The wickedness of other women could
But shame themselves – which, like wild branches being
Cut off, the tree is beautiful again –,
But this spreads an infection, and all
The sex is wounded in Cassandra's fall.

Exit.

[5.1]

Enter Rosinda, Flavia [and] Didimo.

Rosinda
1425
Away, your mirth displeases!

Flavia
Madam, I hope
I have not offended.

Rosinda
Let the boy begone.

Didimo
Good madam, laugh a little: 'tis my duty
To drive away your sadness. 'Tis all the
Use ladies have for pages now and then
1430
To purge their melancholy.

Rosinda
Do not tempt my anger.

Didimo
Then I'll go seek out Pazzorello,
He's better company and will make me laugh
If his fit of immortality hold. My duty, madam.

Exit.

Rosinda
O Flavia, I am undone!

Flavia
Not so, dear madam.

Rosinda
1435
Though I be innocent, I want the courage
To tell the Prince Cesario, I love.
Were I allowed access, he must imagine
Me guilty of his dishonor, nor can I
Be happy while he thinks himself so miserable.
1440
Art thou so wise to counsel me? –
Enter Vittori.
Vittori!

Vittori
Madam, I have an humble suit to you.

Rosinda
To me, Vittori? For Cassandra's sake
I must deny you nothing.

Vittori
For her sake
I beg it.

Rosinda
Pray be plain.

Vittori
That you would speak
1445
To th' King.

Rosinda
For what?

Vittori
To cut my head off.

Rosinda
How?

Vittori
With sword or axe, or by what other engine
He please; I know you'll easily obtain it.
'Tis for Cassandra's sake I would be fain
Dispatched; she'll thank you too, and then the Prince
1450
And she may revel.

Rosinda
[Aside]
I do find his jealousy.
Alas! Poor gentleman! – But yet I hope
You do not mean so desperately.

Vittori
As you
Love virtue do this favor – if you make
Scruple, there is a King a little further
1455
Will take my life away at the first word,
For I am resolved to die.

Rosinda
Shall I obtain
A small request from you?

Vittori
These are delays.

Rosinda
If you be weary of your life, you'll meet it,
For there is danger in't.

Vittori
And thank you too,
1460
I'll do't by your fair self – now, now, you bless me!
Without exception I'll obey you, madam.

Rosinda
'Tis this.

(Whispers [to him.])

Vittori
Do you not mock me?

Rosinda
No suspicion.

Vittori
Instantly?

Rosinda
This minute we'll begin it, and I'll promise
1465
Something beside, that you will thank me for –
But things are not yet ripe. Will you do me
This honor?

Vittori
Come, I wait you, but 'tis strange.
Why you should thus engage yourself?

Rosinda
When you know,
You will allow my reasons.

Vitttori
I attend you.
1470
Now farewell, false Cassandra!

Exeunt.

[5.2]

Enter Julio and Mauritio.

Mauritio
The Prince not to be found?

Julio
[Aside]
I did suspect
That letter might betray him.
Enter Alberto.
Now, Alberto,
How is the King?

Alberto
Imagine how a father
Can apprehend the absence of a son
1475
He loved so dearly! But he's justly punished
For his indulgence, though we dare not say so.

Mauritio
'Tis very strange.

Julio
He was merry the last night.

Alberto
What letter was't, Julio, the Captain brought?
I could distinguish it did strangely move him.

Julio
1480
Letter?

Alberto
Can you forget it?

Julio
[Aside]
Pox upon the witch
That sent it! Now shall I be examined and,
If he return not, lose my head. – That letter
Was a discovery of some plot the enemy
Purposed that very night.

Mauritio
Perhaps this mischief;
1485
Why was it not prevented?

Julio
[Aside]
I shall make fine work,
I know not how to shadow it; would he had
Lain with my sister rather than engaged
Himself so far for venison!

Alberto
Peace.
Enter King [of Naples] and Alphonso.
The King.

Mauritio
And old Alphonso! I am glad to see
1490
His change of fortune.

Alberto
The King ever loved him.

Alphonso
Sir, have comfort,
Your sorrow will discourage all.

King of Naples
Dost think
He is not taken by the enemy,
And put to death?

Alphonso
They dare not, 'tis against
1495
The rules of war.

King of Naples
What dare not men that hate us?
And yet conceal the murder.

Enter Fabio.

Fabio
Where's the King?

King of Naples
Here. What portends thy haste and busy countenance?

Fabio
O great sir!

King of Naples
Has thy intelligence brought us knowledge of
1500
Our son?

Fabio
The news I bring, my gracious lord,
Concerns the Prince, and how my heart flows over
That I am pointed out by heaven the first
And happy messenger!

King of Naples
Proceed, and we'll reward thee.

Fabio
All my ambition aims but at your favor;
1505
My soul was never mercenary: 'tis
My duty to wear out my life in services
For you and the whole state, whereof although
I am no able member, yet –

Alphonso
He's mad.

Fabio
It is with joy then, my good lord Alphonso.
1510
And by the way I must congratulate
Your present favor with the King: I knew
The noble faculties of your soul at last
Would find their merit.

King of Naples
Villain! What dost rack
My expectation? Speak, what of my son?
1515
Answer me without circumstance, where is
The Prince? Be brief, or –

Fabio
I know not, my good lord.

King of Naples
Traitor! Didst not prepare me to expect
News of my son, pronouncing thyself happy
In being the messenger? Is he in health?
1520
Answer to that.

Fabio
I know not, my good lord.

King of Naples
Cut off his head! I shall become the scorn
Of my own subjects.

Fabio
Mercy, royal sir,
And I'll discharge my knowledge.

King of Naples
Tell me then,
And I'll have patience for the rest, but be not
1525
Tedious – is my son alive or dead?

Fabio
Alas, I know not, my good lord.

King of Naples
Confusion!

Fabio
But, with your royal license, I am able
To produce those can satisfy you in every
Particular.

King of Naples
Where? Whom? And quickly save thy life.

Fabio
1530
They wait, sir.

[Exit.]

Mauritio
This fellow was not made for court dispatch:
An elephant will sooner be delivered
Than his head when 'tis stuffed with any business.

[Re-]enter Fabio, [with] Vittori disguised [and] Rosinda.

King of Naples
A lady!

Alphonso
And a fair one; what's the mystery?

Julio
She's not of Naples, sure.

Alberto
Fabio, what is she?

Rosinda
1535
Sir, you may justly wonder that a woman,
A stranger, and an enemy, although
My sex present you with no fears, should thus
Adventure to your presence. Had I doubted
Myself first, since suspicion of another's
1540
Defect doth rise from our own want of goodness,
I had not used this boldness – but safe here
And armed with innocence, I gave up my freedom
And dare not feed one jealousy my honor
Can suffer with a king.

King of Naples
[Aside]
An excellent presence!

Alphonso
1545
[Aside]
Her bearing is above the common spirit.

King of Naples
Fair lady, make me more acquainted with
Your purpose: nothing can proceed from you
That will not charm us to attention.

Rosinda
Your son, great sir –

King of Naples
Where? Speak, you do not look
1550
As you delighted to report a tragedy.
Lives my Cesario?

Rosinda
He does live, my lord.

King of Naples
Support me, good Alphonso! I shall faint
Under my joy.

Rosinda
But lives a prisoner
To his enemy, the King of Sicily,
1555
Who wished no greater triumph than to boast
His person captive; how he means to deal with him
May admit some fear. Kings that prescribe to others
In peace have great prerogatives, but in war
Allow no laws above what anger dictates
1560
To their revenge, which blood doth often satisfy.

Alphonso
He dares not be so cruel!

Rosinda
I conclude not,
But yet 'tis worth some fear when he, that was
The root of all this war, stands at their mercy
That could not wish his safety and their own
1565
Together. – I have told you, sir, the worst.

King of Naples
Alas, thou hast undone me!

[Faints.]

Alphonso
Sir! My lord!
Lady, you were to blame – my lord!

Rosinda
Your son
Shall live, and bless your age to see him live
If you will be so kind to allow yourself
1570
But eyes to witness it.

King of Naples
Flatter not my soul,
That is already weary of her burden
And would begone to rest.

Rosinda
Gather your spirits.

King of Naples
What hopes?

Rosinda
Assurance, sir, if you but please
To entertain it. I came hither on
1575
No empty motive but to offer you
A pledge for young Cesario.

King of Naples
Where? What pledge?

Rosinda
A pledge of as full value to the owner
As your son's life to you.

Alphonso
Such security
Were welcome.

King of Naples
Make me blest.

Rosinda
Receive me then
1580
Your prisoner and you make your balance even.
Lose not your thought in wonder – when you know
The price of what I have presented you,
Your reason sha'not think him undervalued.
I am Rosinda, daughter to that King
1585
Whose soldiers threaten Naples, equally
As precious to my father and a kingdom,
And to your power thus I expose myself.
If young Cesario meet unkind conditions,
I'th'same proportion let Rosinda suffer:
1590
Erect a scaffold quickly o'er the walls
And fright their jealous eyes when they behold
Who is prepared for death to equal their
Revenge upon Cesario, whom they'll threaten
To make you stoop. But lose no part of honor,
1595
As you are a king; their trembling hangman
Shall think himself mocked and let fall his sword,
Or both our heads take their farewell together.

King of Naples
Alphonso, is't a woman?

Alphonso
And a brave one!

Mauritio
I admire her nobleness.

Rosinda
You are slow to ask
1600
The cause that hath engaged me to all this,
And yet you cannot choose but read it plainly
In my guilty blushes: I do love the Prince.
Perhaps 'tis more than he imagines, and,
Since I first saw him in my father's court,
1605
Without dishonor, I dare justify
My heart was his, and to this love you owe
The sorrow of his absence; for Cassandra,
That noble lady to whose breast I gave
My secret'st thought, for my sake – by a letter
1610
In her own name, by tie of former love
To her – engaged his meeting at my tent;
Whither no sooner privately arrived
But by a villain that deceive our trust
My father was brought in, and he made prisoner!
1615
You have the story, and my resolution
To be companion of his fate.

Vittori
Again
Those words, dear lady, that concerned Cassandra.

[Throws off his disguise.]

King of Naples, Alphonso
Vittori!

Vittori
All your pardon; I must hear this first.

Rosinda
Cassandra is innocent, and but framed that letter
1620
To bring us two acquainted; the earth has not
A purer chastity.

Vittori
You have kept your word, and heaven reward your soul for't! –
My duty, sir, to you and to my father.

Rosinda
He hath deserved his welcome for my sake.

King of Naples
1625
We thus confirm it.

Alphonso
My poor son Vittori!

King of Naples
But tears of joy salute thee, best of ladies! –
Alphonso, she is fair, well shaped; my son
Gave her deformed. With what eyes could he look
Upon this beauty and not love it?

Vittori
1630
This beauty is her least perfection:
It speaks her woman, but her soul an angel.
But I forget Cassandra all this while.

King of Naples
Welcome again, fair Princess, my Cesario
Is here supplied. – Alphonso!

Fabio
1635
This may bring the peace about.

Mauritio
May it so! What think you of half your land?
Do not your acres melt apace?

King of Naples
Away. –
Never did lady such an act of nobleness,
And what we cannot reach in honoring thee
1640
Ages to come shall pay thy memory.

Exeunt.

[5.3]

Enter King of Sicily and Cassandra.

King of Sicily
May I believe Rosinda loves the Prince,
And yet so cunningly disguise it from me?

Cassandra
It was my plot I must confess, but her
Affection bid me to't; I did expect
1645
Another consequence.

King of Sicily
I'll to my daughter.

Cassandra
The Prince now in your power, I hope, great sir,
You'll look more gently on Vittori.

King of Sicily
We
Shall think on him. The Prince, excuse my absence.

[Exit.]
Enter Prince.

Prince
Can those deceiving eyes look still upon me?
1650
Is not thy soul ashamed? Have I for thee
Neglected my own fortune and my father,
All the delights that wait upon a kingdom,
For thy sake drawn this war upon my country
And done such things I did forget I was
1655
A prince i'th'acting, and is all my love
Rewarded thus? No devil to betray me,
But she to whom I durst have given my soul!
Degenerate woman!

Cassandra
Sir, throw off your passion,
And, when you have heard me speak but a few minutes,
1660
You'll change opinion and, if you do not
Accuse yourself, you will at least acquit
Me from the guilt of your dishonor.

Prince
Did not
The magic of your letter bring me hither?

Cassandra
I must not, sir, deny I used what motive
1665
I could to gain your presence, but no magic.

Prince
'Twas worse, and shows more black for thy intention.
Hast thou a conscience and canst deny
Thou didst not mean this treachery?

Cassandra
May heaven
Then shoot his anger at me! I sent for you,
1670
But, as I have a life, not to betray you.

Prince
What could induce thee then?

Cassandra
Love, love, my lord.

Prince
Ha? Pardon my rashness and my error.
Do I hear thee pronounce 'twas love sent for me?
What streams of joy run through me! I am free,
1675
Have suff'red nothing, nothing worthy of
So rich a satisfaction; I forget
Naples with as much ease as I can kiss thee.
Have you no more vexation? O my stars!
Your influence is too merciful.

Cassandra
Mistake not,
1680
'Twas love I must confess, but not that love
Your wild imagination prompts you to,
And yet it was my love to wish you happy.

Prince
You are in paradoxes, lady: 'twas love,
And it was not.

Cassandra
Love, which another lady
1685
In birth, and all that's good, above Cassandra
Had toward your person, did command my service
In that rude letter. My ambition
Reached at no greater honor than to bring
Her passions to your knowledge; think, my lord,
1690
Upon Rosinda.

Prince
Ha?

Cassandra
And prison all
Your wanton thoughts: Rosinda was by heaven
Designed for you, as I was for Vittori.

[Re-]enter King of Sicily.

King of Sicily
'Tis treason to be ignorant; search everywhere,
I'll hang ye all, unless you find my daughter. –
1695
Prince, where's Rosinda? I will have her, or
Your head shall off.

Prince
My head?

King of Sicily
I cannot take
Too great revenge; no punishment can fall
Severe enough upon his head was guilty
Of all these tumults.

Cassandra
Is the Princess lost?

King of Sicily
1700
Not without some conspiracy, you're all
Traitors; if I recover not my child,
I will sacrifice the lives of my whole army.

Prince
How ill this violence sits upon a king! – Alphonso!

Enter Alphonso, Horatio, Trivulsi, Fabrichio, Pazzorello [and] Didimo.

King of Sicily
What are you, sir?

Horatio
One from the King of Naples.

King of Sicily
1705
I'll hear nothing unless Rosinda be concerned i'th'message.

Alphonso
She is.

King of Sicily
Ha? Where?

Alphonso
Safe in the city, sir.

King of Sicily
A prisoner.

Alphonso
Guarded with love and honor, which
She hopes is not here wanting to Cesario.

King of Sicily
How came she thither?

Alphonso
With Vittori, sir.

Cassandra
1710
Ha? Vittori?

King of Sicily
That double renegade! Where is Cassandra?
Off with her head, and his!

[Pointing to the Prince.]

Alphonso
My humblest duty. –
Take counsel to your action – Rosinda
Is in the same condition, my lord;
1715
Vouchsafe me hearing.

[Walks aside with the Prince.]

Horatio
Sir, if I were worthy
To advise you, let your passions cool; you but
Provoke their fury to your daughter by
Threat'ning the Prince.

Trivulsi
You're now on even terms,
What if you met and parlied?

Prince
[Aside to Alphonso]
Every praise
1720
Thou giv'st her makes me see my own deformity!
[To Cassandra]
Madam, you first awaked me.

Fabrichio
Please you, sir,
The King would have some further conference.

Cassandra
Direct their counsels, heaven!

Prince
Thy pardon, dear Cassandra.
1725
When I have leave, I'll ask Vittori's too,
And all the world's.

King of Sicily
For further pledge on both sides,
Horatio we'll exchange, to invite Naples
To give us meeting.

Alphonso
'Tis desired already.

King of Sicily
We follow. – Come, my lord, old men have passions.

Prince
1730
They were not men else.

Alphonso
My son's life, Cassandra.

Exeunt [all but Pazzorello and Didimo.]

Pazzorello
But this is strange news, Didimo: is my lady and mistress a prisoner? I took the Prince.

Didimo
'Twas valiantly done.

Pazzorello
Why may not I with my armor of magic bustle among the enemies and get honor now?

Didimo
It were your only time; get but a brave horse –

Pazzorello
That would carry double, and I might bring home the Princess behind me to the camp. Say no more; stay, thou art sure I am sufficiently enchanted.

Didimo
No infidelity; as sure as you had no money in your pockets.

Pazzorello
Well remembered! If it be so sure, my little Didimo, you shall now give me account of all that gold and silver.

Didimo
Such another word, and my aunt shall take off her curse again.

Pazzorello
There's it, this urchin has me o'th'hip! Beside, in my conscience, my granam has given thee a spell too, so that we might fight our hearts out afore we kill one another.

Didimo
You may be sure of that.

Pazzorello
Prithee let me try, for my own satisfaction, whether my sword will run thee through or no.

Didimo
It has been attempted a hundred times; you may as soon prick me with the pommel, but, if thou hast any doubt thy own body is not steel- proof, my rapier shall demonstrate.

Pazzorello
Woo't? Now, thou'rt honest.

Didimo
'Tis to no purpose.

Pazzorello
For my satisfaction, if thou lov'st me.

Didimo
Come on your ways.

(Draws.)

Pazzorello
Stay, 'tis pointed – I have a great mind, but if – but if – I should – I am enchanted, do't! Stay, I won't see't. [Shuts his eyes.]
Now –

Didimo
Never fear.

He sheaths [his sword] and thrusts him behind, and [then] draws it again presently.

Pazzorello
Oh,
He has run me through body and soul!
Hum! I see no point, nor blood, nor pain, ha?
'Tis so. God-a-mercy, Didimo! I am right, I see't.
1735
I will dispatch these wars presently.

Didimo
Your charm will last no longer.

Pazzorello
Tell not me, I will then go seek adventures.
We'll wander to relieve distressed damsels
Through woods with monsters and with giants haunted,
1740
And kill the devil like a knight enchanted.

Exeunt.

[5.4]

Loud music.
Enter[, at one door,] King of Sicily, Prince, Alphonso, Trivulsi, Fabrichio [and] Cassandra;[at the other,] King of Naples, Rosinda, Horatio, Vittori, Julio [and] Alberto.
Alphonso goes to the King of Naples, and Horatio returns to the King of Sicily; they whisper.

King of Sicily
Let's hear our daughter speak.

Rosinda
First, with an humbleness
Thus low, I beg your pardon and beseech
You would interpret no defect of duty
That I forsook my tent and your protection.
1745
There is another, stronger tie than nature's –
Love, whose impulsion you have felt, or I
Had never been your daughter, moved my flight,
Love of that excellent Prince whom, in your power,
I had no way to gain but by this loss.
1750
And if you had been cruel to Cesario,
I should have gloried under these to suffer.

Prince
No more, there's virtue in that excellent Princess
To stock two kingdoms. – Pardon, fair Rosinda,
Thou hast made me fit to know thee. Taught by thy
1755
Obedience, I return a son to Naples
Thus, but desire no life without possession
Of that religious treasure. – As you're kings –

Both Kings
A chain of hands and hearts!

Vitttori
O my Cassandra!

King of Naples
Joy in all bosoms!

King of Sicily
Thus our kingdoms knit.

Prince
1760
Horatio, we are friends too.

Horatio
Own me your servant, sir. I beg your pardon.

Prince
I cannot ask forgiveness oft enough
For injuries to thee, noble Vittori,
Alphonso and Cassandra.

Vitttori, Alphonso, Cassandra
All your creatures.

Enter Mauritio [and] Fabio.

Mauritio
1765
Justice, my lord!

[Presents a paper.]

Fabio
Mercy, my lord!

King of Naples
What's this?

Mauritio
A deed of half his land if he survived
These wars, which are now happily determined.
My life was his security, which will
Be merrier with the moiety of his acres.

King of Naples
1770
How if he had died?

Mauritio
His land had gone to the next heir, that's all;
His ghost would hardly call upon my forfeit.
If I had died, his land had been discharged,
But we, both living, must part stakes. He has
1775
Enough for two on's.

Fabio
Cheated by a soldade!

Prince
He must confirm his act.

Fabio
But in such cases, sir, where men's estates –

Prince
Are too much, sir, and, like their talk, impertinent –
Go to! You're well.

Fabio
But half well, an't like your grace.

Mauritio
1780
'Tis very well.

King of Naples
Our city spreads to entertain such guests.

Prince
Never was music of so many parts
As, friends to Naples now, we all join hearts.

Exeunt.
FINIS.