Plays and Poems

The Insatiate Countess, Princelye Pleasures at the Courte at Kenelwoorth, Ralph Royster Doyster

John Marston, Nicholas Udall

• Publisher: Left of Brain Books
• Year: 2021
• Topic: Literature
• eBook ISBN:
  9781396319860
• Subtopic: British Drama
• Index: Literature

The Elizabethan and Jacobean era are known for many things, but they would be incomplete without the works of John Marston; English playwright, poet and brilliant satirist.Known for his vigorous, obscure, and controversial works, Marston began his literary career in 1598 with an erotic poem titled, "The Metamorphosis of Pigmalions Image and Certaine Satyres." Marston's works were often so controversial or "problematic" that "The Scourge, " one of his satires, was burnt by the Archbishop of Canterbury.There are not a lot Playwrights who dared to break convention in the 16th century, but Marston did that fearlessly and relentlessly. In this book, you will find one of his most acclaimed works "The Insatiate Countess, " based on Bianca Maria, a countess executed for adultery, and known as his most erotic play. As well as two other vital 16th century plays – "Princelye Pleasures at the Courte at Kenelwoorth" and Udall's "Ralph Royster Doyster".

ACT I.

SCENE 1.—Venice.—A Chamber.—The Countess of Suevia, discovered sitting at a Table covered with black, on which stand two, black Tapers, lighted: she in Mourning.

Enter ROBERTO, ROGERO, and GUIDO.

Guido. What should we do in this Countess’s dark hole? She’s sullenly retired, as the turtle; every day has been a black day with her, since her husband died; and what should we unruly members make here?

Rog. As melancholy night masks up heaven’s face,

So doth the Ev’ning Star present herself

Unto the careful shepherd’s gladsome eyes,

By which unto the fold he leads his flock.

Guido. Zounds, what a sheepish beginning is here! ’Tis said, true love is simple; and it may well hold; and thou art a simple lover.

Rob. See, how yon star, like beauty in a cloud,

Illumines darkness, and beguiles the Moon

Of all her glory in the firmament.

Guido. Well said, Man i’the Moon! Was ever such astronomers! Marry, I fear none of these will fall into the right ditch.⁴

Rob. Madam.

Countess. Ha, Anna! what, are my doors unbarr’d?

Guido. I’ll assure you, the way into your ladyship is open.

Rob. And, God defend that any prophane hand

Should offer sacrilege to such a Saint!

Lovely Isabella, by this duteous kiss,

That draws part of my soul along with it,

Had I but thought my rude intrusion

Had wak’d the dove-like spleen harbour’d within you,

Life and my first-born should not satisfy

Such a transgression, worthy of a check!

But, that immortals wink at my offence,

Makes me presume more boldly. I am come

To raise you from this so infernal sadness.

Countess. My lord of Cyprus, do not mock my grief,

Tears are as due a tribute to the dead,⁵

As fear to God, and duty unto Kings,

Love to the just, or hate unto the wicked.

Rob. Surcease!

Believe, it is a wrong unto the gods;

They sail against the wind, that wail the dead;

And, since his heart hath wrestled with death’s pangs,

From whose stern cave none tracts⁶ a backward path,

Leave to lament this necessary change,

And thank the gods, for they can give as good.

Countess. I wail his loss! sink him ten cubits deeper,

I may not fear his resurrection!

I will be sworn upon the holy writ,

I mourn thus fervent, ’cause he died no sooner.

He buried me alive,

And mew’d me up, like Cretan Dædalus;

And with wall-ey’d jealousy kept me from hope

Of any waxen wings to fly to pleasure;

But now his soul her Argus’ eyes hath clos’d,

And I am free as air. You of my sex,

In the first flow of youth, use you the sweets

Due to your proper beauties; ere the ebb

And long wane of unwelcome change shall come!

Fair women play; she’s chaste whom none will have.—

(Aside.) Here is a man of a most mild aspéct,

Temp’rate, effeminate,⁷ and worthy love,

One that with burning ardour hath pursued me;

A donative he hath of ev’ry god;

Apollo gave him locks; Jove his high front;

The God of Eloquence, his flowing speech;

The feminine deities strow’d all their bounties

And beauty on his face: that eye was Juno’s;

Those lips were hers⁸ that won the golden ball;

That virgin-blush, Diana’s; here they meet,

As in a sacred synod.—My lords, I must entreat,

Awhile, your wish’d forbearance.

Omnes. We obey you, lady.

[Exeunt Rogero and Guido.

Countess. (To Roberto.) My lord, with you I’d have some conference.

I pray, my lord, do you woo ev’ry lady

In this phrase you do me?

Rob. Fairest, till now,

Love was an infant in my oratory.

Countess. And kiss thus, too?

[Kisses him.

Rob. I never was so kiss’d; leave thus to please;

Flames into flames, seas thou pour’st into seas.

Countess. Pray frown, my lord; let me see how many wives

You’ll have.⁹ Heigh-ho! you’ll bury me, I see.

Rob. In the swan’s -down, and tomb thee in arms.

Countess. Then folks shall pray In vain to send me rest.

Away! your’e such another meddling lord.

Rob. By heav’n, my love’s as chaste as thou art lair,

And both exceed comparison! By this kiss,

That crowns me monarch of another world,

Superior to the first, fair, thou shalt see,

As unto heav’n my love, so unto thee.

Countess. Alas, poor creatures! when we are once o’ the falling hand,

A man may easily come over us;

It is as hard for us to hide our love,

As to shut sin from the Creator’s eyes.

I’faith, my lord, I had a month’s mind unto you,

As tedious as a full-rip’d maidenhead;

And, Count of Cyprus, think my love as pure

As the first opening of the blooms in May,

Your virtues’ May;—nay, let me not blush to say so.

And see, for your sake, thus I leave to sorrow;—

Begin this subtle conjuration with me;

And as this taper, due unto the dead,

I here extinguish, so my late dead lord

I put out ever from my memory,

That his remembrance may not wrong our loves;

[Puts out one of the Tapers.

As bold-fac’d women, when they wed another,

Banquet their husbands with their dead loves’ heads.

Rob. And, as I sacrifice this to his ghost,

With this e...

Table of contents

• JOHN MARSTON.
• EPISTLE DEDICATORY.
• THE INSATIATE COUNTESS
• PROLEGOMENA.
• DRAMATIS PERSONÆ.
• ACT I.
• SCENE 1.—Venice.—A Chamber.—The Countess of Suevia, discovered sitting at a Table covered with black, on which stand two, black Tapers, lighted: she in Mourning.
• ACT II.
• SCENE 1.—Venice—An Apartment in the House of Roberto.
• SCENE 2.—Venice.—An Apartment in the House of Mizaldus.
• SCENE 3.—Venice.—Roberto’s House.
• SCENE 4.—A Hall in Roberto’s House.—A trampling of Horses heard.
• ACT III.
• SCENE 1.—A Street in Venice.—Claridiana and Mizaldus being in readiness, are received in at one another’s houses by their Maids.
• SCENE 2.—Pavie.—A Room in the Countess’ House.
• SCENE 3.—Venice.—Claridiana’s House.
• SCENE 4.—Pavia.—A Room in the Countess’ House.
• ACT IV.
• SCENE 1.—Venice.—The Senate House.
• SCENE 2.—Pavia.—Enter the COUNTESS, followed by GNIACA.
• SCENE 3.—Venice.—Lady Lentulus’ House.
• SCENE 4.—Pavia.—A Street.
• ACT V.
• SCENE 1.—Pavia.—The Castle Green—a Scaffold, &c.
• SCENE 2.—Venice.—The Senate House.
• PRINCELYE PLEASURES AT THE COURTE AT KENELWOORTH
• THE PRINTER TO THE READER
• A BRIEFE REHEARSALL, OR RATHER A TRUE COPIE, OF AS MUCH AS WAS PRESENTED BEFORE HER MAJESTIE AT KENELWORTH, DURING HER LAST ABOADE THERE, AS FOLLOWETH
• ACTUS I. SCENA i.
• ACTUS I. SCENA ii.
• ACTUS II. SCENA i.
• ACTUS II. SCENA ii.
• ACTUS II. SCENA iii.
• ACTUS II. SCENA iv.
• ACTUS II. SCENA VLTIMA.
• RALPH ROYSTER DOYSTER
• PROLEGOMENA.
• THE PROLOGUE.
• DRAMATIS PERSONÆ
• ACTUS j. SCÆNA j.
• ACTUS j. SCÆNA ij.
• ACTUS j. SCÆNA iij.
• ACTUS j. SCÆNA iiij.
• ACTUS j. SCÆNA v.
• ACTUS ij. SCENA i.
• ACTUS ij. SCENA ij.
• ACTUS ij. SCENA iij.
• ACTUS ij. SCÆNA iiij.
• ACTUS iij. SCÆNA j.
• ACTUS iij. SCÆNA ij.
• ACTUS iij. SCÆNA iij.
• ACTUS iij. SCÆNA iiij.
• ACTUS iij. SCÆNA v.
• ACTUS iiij. SCÆNA j.
• ACTUS iiij. SCÆNA ij.
• ACTUS iiij. SCÆNA iij.
• ACTUS iiij. SCÆNA iiij.
• ACTUS iiij. SCÆNA v.
• ACTUS iiij. SCÆNA vj.
• ACTUS iiij. SCÆNA vij.
• ACTUS iiij. SCÆNA viij.
• ACTUS v. SCÆNA j.
• ACTUS v. SCÆNA ij.
• ACTUS v. SCÆNA iij.
• ACTUS v. SCÆNA iiij.
• ACTUS v. SCÆNA v.
• ACTUS v. SCÆNA vj.