THE KNIGHT OF MALTA: A TRAGI-COMEDY. The Commendatory Verses by Gardiner ascribe this play (which was first printed in the folio of 1647) to Fletcher alone. It hath not been acted within the memory of any person now living, nor do we know of any alteration of it. Mountferrat. DARES she despise me thus? me, that with spoil And hazardous exploits, full sixteen years Out-lighten'd light'ning in my chivalry, Whistled enraged Boreas 'till his gusts invite ; my suit: Un-napt with meritorious actions, here, And neither favour, nor birth's privilege) Enter Rocca. I wish my news deserv'd it! Hapless I, Mountf. Why speak'st thou from me? thy pleas'd eyes send forth Beams brighter than the star that ushers day; Thy smiles restore sick expectation. [inine. Rocca. I bring you, sir, her smiles, not Mountf. Her smiles? Why, they are presents for kings' eldest sons: Rocca. Sir, fare you well! Mountf. Oh, Rocca! thou art wise, And wouldst not have the torrent of my joy Ruin me headlong! Aptly thou conceiv'st, If one reviving smile can raise me thus, What trances will the sweet words which thou bring'st Cast me into. I felt, my dearest friend, And carry faithfully thy master's sighs, Rocca. Will you yet hear me? But take heed, gentle Rocca, that thou dost With her consent, now to embrace my love; For thou well know'st I've been so plung'd, so torn With her resolved reject, and neglect, That to report her soft acceptance now Will stupify sense in me, if not kill. Why shew'st thou this distemper? Rocca. Draw your sword, [you, And, when I with my breath have blasted I bring you smiles of pity, not affection, Mountf. Oh! can she pity me? Of all the paths lead to a woman's love, Rocca. Waken, sir, and know That her contempt (if you can name it so) Ere work her to your impious requests. home But with such calm behaviour, and mild looks, That being the virgin you should now protect. And her great brother) she will quite disclose, Calling for justice, to your utter shame. Mount. Hence! find the Blackamoor that waits upon her, Bring her unto me; she doth love me yet, Shall my desires, like beggars, wait at door, tov, My love's a violent flood, where thou art fall'n; Playing with which tide th' hadst been gently toss'd, But, crossing it, thou art o'erwhelin'd and lost. Enter Astorius and Castriot. Cast. Monsieur, good day! Asto. Good morrow, valiant knight! What, are you for this great solemnity This morn intended? Mountf. What solemnity? Asto. Th'investing of the martial Spaniard, Peter Gomera, with our Christian badge. Cast. And young Miranda, the Italian; Both which, with wondrous prowess and great Juck, Have dar'd and done for Malta such high feats, That not one fort in it but rings their names Mountf. As any man's ? Asto. Yes, Mountferrat, No bold knight ever past you; but we wear The dignity of Christians on our breasts, And have a long time triumph'd for our conquests: [yet. These conquer'd a long time, not triumph'd Mounts. Astorius, you're a most indul gent knight, Detracting from yourself, to add to others. You know this title is the period To all our labours, the extremity Of that tall pyramid, where honour hangs; Some sullen discontent possesses him, Mount. Oh, furious desire, how like a Thou hurriest me beyond mine honour's point! Out of my heart, base lust! or, heart, I vow Those flames that heat me thus, I'll burn thee in. Asto. Do you observe him? Mountf. What news of the Dane? That valiant captain Norandiae ? Cast. He fights still, [Aside. memory 'Would one of ye would leave me! [Aside. Asto. Six fresh gallies I in St. Angelo from the promontory The gulphs of worthiest men, buried their [ported Asto. He's saying of his prayers surc. Cast. Will you go, sir? Mountf. I cry you mercy! I am so trans(Your pardon, noble brothers) with a business That doth concern all Malta, that I am (Anon you'll hear it) almost blind and deaf(Lust neither sees nor hears aught but itself)— But I will follow instantly. Your cross. Asto. Not mine. [Cross dropt. Cast. Nor mine; 'tis yours. abhor to dwell So near the dim thoughts of this troubled And grace these graceless projects of my heart! Enter Zanthia, alias Abdella. Yet I must wear thee, to protect my crimes, My pearl, that scorns a stain! I much repent Embrace my black cloud, since my Juno is So wrathful, and averse: Thou art more soft And full of dalliance than the fairest flesh, And far more loving. Zant. Ay, you say so now; But, like a property, when I have serv'd Your turns, you'll cast me off, or hang me up For a sign somewhere. Mountf. May my life then forsake me, Or, from my expected bliss, be cast to hell! Zant. My tongue, sir, cannot lisp to meet Doth mend me up; and yet, Mountferrat, know, I am as full of pleasure in the touch Sweeter than is the sweet of pomander, trees, [grove! Straight as young pines, or cedars in the Quickly descend, lovers' best canopy, Still Night, for Zanthia doth enamour me Beyond all continence! Perpetrate, dear wench, What thou hast promis'd,and I vow by Heav'n, Zunt. From this hope, Here is an answer to that letter, which As well he may, sweet lady; yet, for love, For love of thee, Mountferrat, (oh! what chains Of deity, or duty can hold love?) I have this answer fram'd, so like her hand VOWS. Mountf. Till I be dust, my Zanthia, be confirin'd. [lips.— Sparrows, and doves, sit coupling 'twixt thy It is not love, but strong libidinous will That triumphs o'er me; and to satiate that, What diff'rence 'twist this Moor, and her fair dame? Night makes their hues alike, their use is so; Whose hand's so subtle he can colours name, If he do wink, and touch 'em? Lust being blind, Never in women did distinction find. [Exit. SCENE II. Enter two Gentlewomen. 1 Gent. But i'faith dost thou think my lady Was never in love? 2 Gent. I rather think she was ever 2 Gent. As thus; there is no wife (if she Be good and true, will honour and obey) Bat must reflect the true countenance of Her husband upon him: If he look sad upon her, She must not look merrily upon him; if he If he laugh, she must show her teeth; 1 Gent. Yes, i'faith! [then Marriage may well be call'd a yoke! Wives Are but like superficial lines in geometry, That have no proper motion of their own, [off 2 Gent. That's because the moon Governs 'em; which hath most light and shines Brightest, the more remote it is from the sun; And, contrary, is more sullen, dim, and shews Least splendor, when it is nearest. 1 Gent. But if I were to marry, I would marry a fair effeminate fool. 1 Gent. Because I would lead the blind 2 Gent. And I the wisest man I could get Because I had rather follow the clear-sighted Bless me from a husband that sails by his 1 Gent. Why? [wife's compass! 2 Gent. Why, 'tis ten to one but she Breaks his head in her youth; and, when she ftoo! is old, She'll never leave 'till she has broke his back 1 Gent. But what scurvy koights have we bere in Malta3, [allegiance That when they are dub'd take their oath of To live poor, and chastly, ever after? 2 Gent. 'Faith, Many knights in other nations (I have heard) Enter Zanthia. Zant. Hist, wenches! My lady calls; she's entering the terrace, To see the show. 1 Gent. Ob. black pudding! 2 Gent. My little labour in vain! [Exeunt. SCENE III. Enter above, Oriana, Zanthia, and two Gentlewomen; beneath, Valetta, Mountferrut, Astorius, Castriot, Gomera, Miranda, Attendants of Knights, &c. Mountf. Are you there, lady? * 2 Gent. I rather think she was ever in love, in perfect charity. 1 Gent. I mean, with all the world. 2 Gent. A most Christian answer, I promise you; but, &c. 2 Gent. With a man?] Corrected in 1750. 3 Broke his buck to- But what scurvy knight have you here in Malta, &c. Enter Zanthia. Zan. Hist, wenches: my lady calls, she's ent’ring The terrass, to see the show. 1 Gent. Oh black pudding. 2 Gent. My little labour in vain. 1 Gent. But what scurvy knights have we here in Malta, that, &c.] This confusion and repetition appear in all the editions but the present. We apprehend there can be no doubt but Zanthia's entry, and the five following lines, should be removed to the conclusion of the scene, which hitherto ended with the words, Columbus to find out. The &c. (with the senseless variation of the words) induces us to think, that the first occurrence of the reiterated line was meant as a direction for the performer to pass on to that passage beginning, But what scurvy, &c. |