British Dramatists from Dryden to Sheridan

By George Henry Nettleton; Arthur Eillicot Case | Go to book overview

By heav'n, I know not thirty heads in Venice

Should not be blasted; senators should rot 55
Like dogs on dunghills, but their wives and daughters Die of their own diseases. O for a curse
To kill with!

PIERRE. Daggers, daggers, are much better.

JAFF. Ha!

PIERRE. Daggers.

JAFF. But where are they?

PIERRE. Oh, a thousand

May be disposed in honest hands in Venice. 60

JAFF. Thou talk'st in clouds.

PIERRE. But yet a heart half wronged
As thine has been, would find the meaning, Jaffeir.

JAFF. A thousand daggers, all in honest hands,
And have not I a friend will stick one here?

PIERRE. Yes, if I thought thou were not to be

cherished 65
To a nobler purpose, I'd be that friend.

But thou hast better friends -- friends whom thy wrongs
Have made thy friends -- friends worthy to be called so.

I'll trust thee with a secret: there are spirits

This hour at work. But as thou art a man 70
Whom I have picked and chosen from the world, Swear that thou wilt be true to what I utter;
And when I have told thee that which only gods
And men like gods are privy to, then swear
No chance or change shall wrest it from thy
bosom. 75

JAFF. When thou wouldst bind me, is there need of oaths?

(Green-sickness girls lose maiden-heads with such counters!)
For thou art so near my heart that thou mayst see
Its bottom, sound its strength and firmness to thee.

Is coward, fool, or villain in my face? 80
If I seem none of these, I dare believe Thou wouldst not use me in a little cause,
For I am fit for honor's toughest task,
Nor ever yet found fooling was my province;
And for a villainous, inglorious enterprise, 85
I know thy heart so well, I dare lay mine Before thee, set it to what point thou wilt.

PIERRE. Nay, it's a cause thou wilt be fond of,
Jaffeir,
For it is founded on the noblest basis --
Our liberties, our natural inheritance. 90
There's no religion, no hypocrisy in't;
We'll do the business, and ne'er fast and pray for't;
Openly act a deed the world shall gaze
With wonder at, and envy when it is done.

JAFF. For liberty!

PIERRE. For liberty. my friend! 95
Thou shalt be freed from base Priuli's tyranny, And thy sequestred fortunes healed again.
I shall be freed from opprobrious wrongs
That press me now and bend my spirit downward:
All Venice free, and every growing merit 100
Succeed to its just right: fools shall be pulled
From wisdom's seat -- those baleful, unclean birds,
Those lazy owls, who (perched near fortune's top)
Sit only watchful with their heavy wings
To cuff down new-fledged virtues, that would
rise 105
To nobler heights, and make the grove harmonious.

JAFF. What can I do?

PIERRE. Canst thou not kill a senator?
JAFF. Were there one wise or honest, I could kill him
For herding with that nest of fools and knaves.

By all my wrongs, thou talk'st as if revenge 110
Were to be had, and the brave story warms me.

PIERRE. Swear then!

JAFF. I do, by all those glittering stars
And yond great ruling planet of the night!
By all good pow'rs above, and ill below,

By love and friendship, dearer than my life. 115
No pow'r or death shall make me false to thee!

PIERRE. Here we embrace, and I'll unlock my heart.

A council's held hard by, where the destruction
Of this great empire's hatching: there I'll lead thee!

But be a man, for thou art to mix with men 120
Fit to disturb the peace of all the world, And rule it when it's wildest --

JAFF. I give thee thanks
For this kind warning. Yes, I will be a man,
And charge thee, Pierre, whene'er thou see'st my fears

Betray me less, to rip this heart of mine 125
Out of my breast, and show it for a coward's. Come, let's begone, for from this hour I chase
All little thoughts, all tender human follies
Out of my bosom. Vengeance shall have room --
Revenge!

PIERRE. And liberty!

JAFF. Revenge! Revenge -- 130

Exeunt.


[SCENE III]

The scene changes to AQUILINA'S house, the Greek courtesan.

Enter RENAULT.

RENAULT. Why was my choice ambition the first ground A wretch can build on? It's indeed at distance

____________________
66] Q3 T'a nobler purpose, I would be . . .
73] Q3 I've.
78] Q3 thou'rt.
94] Q3 'tis.
98] Q3 those opprobrious.
128] Q1Q2 humane; Q3 human.
SCENE III.
1] Q3 worst for first.

-125-

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British Dramatists from Dryden to Sheridan
Table of contents

Table of contents

  • Title Page i
  • Preface iii
  • Contents v
  • Restoration Drama 1
  • Heroic Drama 3
  • Reference Works 6
  • Prologue to the First Part 9
  • Act I 11
  • [scene I] 11
  • Act II 15
  • [scene I] 15
  • Act III 18
  • [scene I] 18
  • Act IV 24
  • [scene I] 24
  • [scene Ii] 25
  • Act V 31
  • [scene I] 31
  • [scene Ii] 32
  • [scene Iii] 33
  • Epilogue 38
  • The Rehearsal 39
  • Prologue 41
  • Act I 43
  • Scene I 43
  • [scene Ii] 44
  • Act II 48
  • Scene I 48
  • Scene II 49
  • Scene III 50
  • Scene IV 50
  • Scene V 52
  • Act III 52
  • Scene I 52
  • Scene II 54
  • Scene III 54
  • Scene IV 55
  • Scene V 55
  • Act IV 57
  • Scene I 57
  • Scene II 61
  • Act I 62
  • Scene I 62
  • Epilogue 67
  • Blank-Verse Tragedy (1677-1700) 69
  • Reference Works 72
  • Preface 75
  • Prologue 81
  • Act I 83
  • Scene [i] 83
  • Act II 88
  • [scene I] 88
  • Act III 94
  • [scene I] 94
  • Act IV 100
  • [scene I] 100
  • Act V 107
  • [scene I] 107
  • Epilogue 114
  • Prologue 117
  • Act I 119
  • Scene I 119
  • Act II 123
  • [scene I] 123
  • Scene [ii] 124
  • [scene Iii] 125
  • Act III 128
  • [scene I] 128
  • Scene II 130
  • Act IV 136
  • [scene I] 136
  • Scene [ii] 137
  • Act V 143
  • [scene I] 143
  • [scene Ii] 145
  • [scene Iii] 147
  • [scene Iv] 149
  • Epilogue 150
  • Comedy of Errors 151
  • Reference Works 154
  • Prologue 157
  • Act I 159
  • Scene I 159
  • Act II 165
  • [scene I] 165
  • Scene II 167
  • Act III 170
  • [scene I] 170
  • Scene II 172
  • Scene III 176
  • Act IV 180
  • [scene I] 180
  • Scene II 185
  • Scene III 187
  • Act V 188
  • [scene I] 188
  • Scene II 191
  • Epilogue 197
  • Dedication 201
  • Prologue. Spoken by the Plain Dealer. 205
  • Act I 207
  • Scene I 207
  • Act II 214
  • Scene I 214
  • Act III 226
  • Scene I 226
  • Act IV 236
  • Scene I 236
  • [scene Ii] 241
  • Act V 246
  • Scene I 246
  • [scene Ii] 248
  • [scene Iii] 254
  • Epilogue 257
  • The Preface 261
  • Prologue 263
  • Act I 265
  • Scene I 265
  • [scene Ii] 266
  • [scene Iii] 268
  • Act II 271
  • Scene I 271
  • Act III 279
  • [scene I] 279
  • [scene Ii] 281
  • [scene Iii] 284
  • [scene Iv] 285
  • [scene V] 286
  • Act IV 286
  • [scene I] 286
  • [scene Ii] 288
  • [scene Iii] 290
  • [scene Iv] 291
  • [scene V] 292
  • Act V 295
  • [scene I] 295
  • [scene Ii] 297
  • [scene Iii] 299
  • [scene Iv] 301
  • [scene V] 303
  • Epilogue 307
  • Dedication to the Right Honorable Ralph, Earl of Mountague, &c. 311
  • Act I 313
  • Scene I 313
  • Act II 318
  • Scene I 318
  • Act III 324
  • Scene I 324
  • Act IV 332
  • Scene I 332
  • Act V 340
  • Scene I 340
  • Epilogue 347
  • Prologue 351
  • Act I 353
  • Scene I 353
  • [scene Ii] 359
  • Act III 362
  • [scene I 362
  • [scene Ii] 363
  • [scene Iii] 365
  • Act IV 370
  • Scene I 370
  • [scene Ii] 376
  • [scene Iii] 381
  • [scene Iv] 383
  • An Epilogue Designed to Be Spoke in 'the Beaux' Stratagem.' 386
  • Jeremy Collier's Attack on the Stage 387
  • Reference Works 388
  • Eighteenth-Century Drama 395
  • Sentimental Comedy 397
  • Reference Works 398
  • The Prologue 401
  • Act I 403
  • Scene I 403
  • Act II 408
  • Scene I 408
  • [scene Ii] 410
  • Act III 413
  • Scene I 413
  • Act IV 420
  • Scene I 420
  • Act V 426
  • Scene I 426
  • [scene Ii] 427
  • [scene Iii] 428
  • [scene Iv] 429
  • [scene V] 429
  • [scene Vi] 430
  • [scene Vii] 432
  • The Epilogue 436
  • The Preface 439
  • Prologue 441
  • Act I 443
  • Scene I 443
  • Scene II 447
  • Act II 450
  • Scene I 450
  • [scene Ii] 451
  • Act III 455
  • Scene I 455
  • Act IV 460
  • Scene I 460
  • Scene [ii] 463
  • Scene [iii] 465
  • Act V 466
  • Scene I 466
  • Scene [ii] 467
  • Scene [iii] 468
  • Epilogue 472
  • Blank-Verse Tragedy 473
  • Reference Works 475
  • Prologue 479
  • Act I 481
  • Scene I 481
  • Scene II 482
  • Scene III 483
  • Scene IV 483
  • [scene V] 485
  • [scene Vi] 485
  • Act II 486
  • Scene I 486
  • [scene Ii] 487
  • [scene Iii] 488
  • [scene Iv] 489
  • [scene V] 489
  • [scene Vi] 491
  • Act III 492
  • Scene I 492
  • [scene Ii] 492
  • [scene Iii] 494
  • [scene Iv] 494
  • [scene V] 494
  • [scene Vi] 495
  • [scene Vii] 495
  • Act IV 496
  • Scene I 496
  • [scene Ii] 496
  • [scene Iii] 497
  • [scene Iv] 498
  • Act V 500
  • Scene I 500
  • [scene Ii] 500
  • [scene Iii] 501
  • [scene Iv] 501
  • Epilogue 503
  • Prologue 507
  • Act I 509
  • Scene I 509
  • Scene II 510
  • Act II 512
  • Scene I 512
  • Act III 516
  • Scene I 516
  • Act IV 519
  • [scene I] 519
  • Act V 524
  • Scene I 524
  • Epilogue 530
  • Ballad Opera 531
  • Reference Works 532
  • Introduction 534
  • Act I 537
  • Scene I 537
  • Scene II 537
  • Scene III 538
  • Scene IV 538
  • Scene V 540
  • Scene VI 540
  • Scene VII 540
  • Scene VIII 541
  • Scene IX 543
  • Scene X 543
  • Scene XI 544
  • Scene XII 545
  • Scene XIII 545
  • Scene XIII 546
  • Scene II 546
  • Scene II 550
  • Scene VI 551
  • Scene VII 551
  • Scene VIII 551
  • Scene IX 552
  • Scene X 553
  • Scene XI 554
  • Scene XII 554
  • Scene XIII 555
  • Scene XIV 556
  • Scene XIV 557
  • Scene II 557
  • Scene II 559
  • Scene III 559
  • Scene IV 559
  • Scene V 560
  • Scene VI 561
  • Scene VII 562
  • Scene VIII 563
  • Scene IX 564
  • Scene X 564
  • Scene XI 564
  • Scene XII 566
  • Scene XIII 566
  • Scene XIV 567
  • Scene XV 568
  • Scene XVI 568
  • Scene XVII 568
  • Mid-Eighteenth-Century Drama (1730-1770) 571
  • Reference Works 573
  • H. Scriblerus Secundus His Preface 577
  • Act I 581
  • Scene I 581
  • Scene II 582
  • Scene III 583
  • Scene IV 585
  • Scene V 585
  • Scene VI 586
  • Act II 586
  • Scene I 586
  • Scene II 586
  • Scene III 587
  • Scene IV 588
  • Scene V 588
  • Scene VI 589
  • Scene VII 590
  • Scene VIII 590
  • Act II 593
  • Scene I 593
  • Scene II 593
  • Scene III 594
  • Scene IV 594
  • Scene V 595
  • Scene VI 595
  • Scene VII 595
  • Scene VIII 596
  • Scene IX 596
  • [dedication] 601
  • Prologue 603
  • Act I 605
  • Scene I 605
  • Scene II 606
  • Act II 609
  • Scene I 609
  • Scene II 611
  • Scene II 613
  • Act III 613
  • Scene I 613
  • Scene II 615
  • Scene III 616
  • Scene IV 617
  • Scene IV 618
  • Act IV 618
  • Scene I 618
  • Scene II 619
  • Act V 622
  • Scene I 622
  • Scene II 623
  • Epilogue 628
  • Act I 633
  • Scene I 633
  • Scene [ii] 635
  • Act II 638
  • [scene I] 638
  • Epilogue 646
  • Prologue 649
  • Prologue 651
  • Act I 653
  • Act II 656
  • Act III 659
  • Act IV 663
  • Act V 668
  • Epilogue 673
  • Prologue 677
  • Act I 679
  • Scene [i] 679
  • Act II 684
  • [scene Ii] Scene Changes to Oakly's. 684
  • [scene Ii] 686
  • Scene [iii] 687
  • Act III 691
  • Scene [i] 691
  • [scene Ii] 695
  • Act IV 698
  • Scene [i] 698
  • [scene Ii] 701
  • Act V 704
  • Scene [i] 704
  • Scene [ii] 705
  • Scene [iii] 706
  • Epilogue 712
  • Later Eighteenth-Century Drama - (1770-1780) 713
  • Sentimental Versus Laughing Comedy 713
  • Reference Works 717
  • Prologue 721
  • Act I 723
  • Scene I 723
  • Scene II 724
  • Scene III 724
  • Scene IV 724
  • Scene V 725
  • Scene VI 726
  • Act II 728
  • Scene I 728
  • Scene II 728
  • Scene III 729
  • Scene IV 730
  • Scene V 730
  • Scene VI 731
  • Scene VII 731
  • Scene VIII 732
  • Scene IX 733
  • Scene X 734
  • Scene XI 735
  • Act III 736
  • Scene I 736
  • Scene II 737
  • Scene III 737
  • Scene IV 739
  • Scene V 739
  • Scene VI 740
  • Scene VII 740
  • Scene VIII 742
  • Scene IX 743
  • Scene X 743
  • Scene IV 743
  • Scene I 743
  • Scene II 743
  • Scene III 744
  • Scene IV 745
  • Scene V 745
  • Scene VI 745
  • Scene VII 746
  • Scene VIII 746
  • Scene IX 747
  • Scene X 748
  • Act V 750
  • Scene I 750
  • Scene II 751
  • Scene III 751
  • Scene IV 751
  • Scene V 752
  • Scene VI 752
  • Scene VII 753
  • Scene VIII 754
  • Epilogue 756
  • Prologue 767
  • Act I 769
  • Scene [i] 769
  • Scene [ii] 771
  • Act II 773
  • Scene [i] 773
  • Act III 781
  • [scene I] 781
  • Act IV 785
  • [scene I] 785
  • Act V 791
  • [scene I] 791
  • [scene Ii] 792
  • [scene Iii] 794
  • Epilogue 797
  • Epilogue 798
  • Prologue 801
  • Prologue 803
  • Act I 805
  • Scene I 805
  • Scene II 806
  • Act II 810
  • Scene I 810
  • Scene II 816
  • Act III 817
  • Scene I 817
  • Scene II 818
  • Scene III 820
  • Scene IV 822
  • Act IV 824
  • Scene I 824
  • Scene II 826
  • Scene III 829
  • Act V 831
  • Scene I 831
  • Scene II 834
  • Scene III 835
  • Epilogue 839
  • A Portrait; Addressed to Mrs. Crewe, with the Comedy of the School for Scandal 843
  • Prologue 847
  • Act I 849
  • Scene I 849
  • Scene II 854
  • Act II 855
  • Scene I 855
  • Scene II 857
  • Scene III 860
  • Act III 861
  • Scene I 861
  • Scene II 864
  • Scene III 865
  • Act IV 868
  • Scene I 868
  • Scene II 870
  • Scene III 871
  • Act IV 876
  • Scene I 876
  • Scene II 878
  • Scene III 881
  • Epilogue 885
  • [dedication] 889
  • Prologue 891
  • Act I 893
  • Scene I 893
  • Scene II 898
  • Act II 902
  • Scene I 902
  • Scene II 902
  • Act III 908
  • Scene I 908
  • Textual Notes 913
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