The Fortunate Isles and Their Union (1625)

Edited by Martin Butler

INTRODUCTION

The Fortunate Isles and their Union, danced in the Whitehall Banqueting House on 9 January 1625, was Jonson’s last masque for King James. Since the collapse of the Spanish match in 1623, royal policy had focused on the need to find a new bride for Prince Charles and on resisting the drift towards war which the breach with Spain caused. But James’s health was already failing, and eleven weeks after the masque he was dead. The Fortunate Isles reiterates the theme of Britain as a land of peace, using the time-honoured identification of the archipelago with the classical Islands of the Blessed, but – perhaps not surprisingly – its evocation of Stuart power is relatively formulaic. It lacks any strong central device, and the main masque recycles material that had been prepared but not performed when Neptune’s Triumph was cancelled in 1624. The motive for cannibalizing Neptune’s Triumph was clearly economic, for Jonson worked within the general scheme that was left over from the previous year. Inigo Jones made new costume sketches (Illustration 94; Orgel and Strong, 1.379), but his old sets were pressed into service for a second time. The same happened with the music: Jonson’s new verses at 309–69 are rather brilliantly written, line by line, within the exact metrical contours of the unperformed songs. Jonson adapted his text to reflect Charles’s impending accession and plans for marriage with the French princess Henrietta Maria (see 360–2), and yet it is difficult to feel that his assertions of confidence in the future are entirely convincing. No one was surprised when one of Charles’s first acts as king was to commence the sea campaign against Spain that his father had so long refused.

In the antimasque, the counsel of caution is reiterated through satire of Rosicrucianism. Merefool is the latest in a line of Jonsonian eccentrics whose reason is overborne by his fantasy, but his obsession with the occult particularly marks him out as a product of current upheavals on the continent. He has clearly been reading some of the Rosicrucian pamphlets flooding out of Germany which, inspired by the conflicts developing between Catholic and Protestant states, claimed that apocalyptic change was impending which would usher in a new age of spiritual transformation (see 24n.). But instead of finding himself the beneficiary of a moment of historical crisis, Merefool is punished by being associated with characters from traditions of nonsense and jest-book. Several of these come from the list of popular literature detailed in the Letter wherein part of the Entertainment unto the Queen’s Majesty at Killingworth Castle . . . is Signified (1575) by Robert Laneham (or Langham), which recounts the entertainment given that year to Queen Elizabeth at Kenilworth by Robert Dudley, material that Jonson had drawn on in The Masque of Owls (see 145n. below). As a ‘melancholic student’ (13), Merefool may further suggest that Jonson had recently been reading Robert Burton’s Anatomy of Melancholy (1621). Certainly Burton himself was interested in this masque, for the Bodleian Library copy of the quarto bears his initials.

The masque may have had some wider impact, for its iconography was promptly imitated in French court literature: Charles was represented as the King of the Fortunate Isles in Jean Puget de la Serre’s Les amours du roi et de la reine (1625) and in the Ballet des nymphes bocagères de la Forêt Sacrée (1627) by Honorat le Metel, Sieur de Boisrobert (see Canova-Green, 1993, 27, 39). Jonson’s text was first printed in a quarto, probably intended for distribution at the performance itself, and this was reprinted, with only minimal changes, in the 1640–1 folio. Our edition is based on the quarto.

 

THE FORTUNATE   ISLES AND THEIR UNION
Celebrated in a masque designed for the court, on the
 Twelfth Night,  1625

 Hic choreae, cantusque vigent.

His Majesty being set, entereth in running

 

JOHPHIEL, an airy spirit and, according to the

 

Magi, the intelligence

of Jupiter’s sphere, attired in light silks of several colours, with wings

of the same, a bright yellow

 

hair, a chaplet of flowers, blue silk stockings, and pumps, and

gloves, with a silver fan in his hand. 

JOHPHIEL

Like  a lightning from the sky, 5

Or an arrow shot by Love,

Or a bird of his let fly,

Be’t a  sparrow or a dove,

With that wingèd haste come I,

Loosèd from the sphere of Jove, 10

To wish goodnight

To your delight.

To him enters a melancholic student in bare and worn clothes, shrouded under an obscure

 

cloak and the eaves of an old hat,

fetching a deep sigh, his name

   

MASTER MEREFOOL.

15

MEREFOOL

Oh, oh!

JOHPHIEL

 [To the audience] In Saturn’s name, the father of  my lord!

What overchargèd piece of melancholy

Is this, breaks in between my wishes thus

With  bombing sighs?

MEREFOOL

 No? No  intelligence?20

Not yet? And all my vows now nine days old!

Blindness of fate! Puppies  had seen by this time,

But I see nothing that I should or would see!

What mean the  brethren of the Rosy Cross

So to desert their votary?

JOHPHIEL

 [To the audience] Oh! ’tis one25

Hath vowed himself unto that airy order,

And now is gaping for the  fly they promised him.

I’ll mix a little with him for my sport.

MEREFOOL

Have I both in my lodging and my diet,

My clothes, and every other solemn charge,30

 Observed ’em? Made the naked boards my bed,

A  faggot for my pillow,  hungered sore –

JOHPHIEL

 [to the audience] And thirsted  after ’em!

MEREFOOL

To look gaunt, and lean?

JOHPHIEL

 Which will not be.

MEREFOOL

Who’s that? – Yes, and outwatched,

Yea, and outwalked any ghost alive35

In  solitary circle, worn my boots,

Knees, arms, and elbows out!

JOHPHIEL

 Ran on the score!

MEREFOOL

That have I – who suggests that? – and for more

Than I will speak of, to  abate this flesh,

And have not gained the sight –

JOHPHIEL

Nay, scarce the sense –40

MEREFOOL

Voice, thou art right – of anything but a cold

Wind in my stomach –

JOHPHIEL

And a kind of  whimsy –

MEREFOOL

Here in my head, that puts me to the  staggers

Whether there be that brotherhood or no.

JOHPHIEL

Believe, frail man, they be, and thou shalt see. 45

MEREFOOL

What shall I see?

JOHPHIEL

Me.

MEREFOOL

Thee? Where?

JOHPHIEL

Here. If you

Be Master   Merefool.

MEREFOOL

Sir,  our name is Merryfool,

But by contraction  Merefool.

JOHPHIEL

Then are you

The wight I seek; and, sir, my name is Johphiel,

Intelligence to the sphere of Jupiter,50

An airy jocular spirit,  employed to you

From Father  Outis.

MEREFOOL

Outis? Who is he?

JOHPHIEL

Know ye not Outis? Then  you know Nobody:

The good old hermit that was said to dwell

Here in the  forest without trees, that built55

The  castle in the air where all the brethren

 Rhodostaurotic live. It flies with wings

And runs on wheels, where  Julian de Campis

Holds out the brandished blade.

MEREFOOL

[Kneeling in surprise] Is’t possible

They think on me?

JOHPHIEL

Rise, be not lost in wonder,60

But hear me and be faithful.

  [Merefool rises.]

All the brethren

Have heard your vows, salute you, and expect you,

By me,  this next return. But the good  father

Has been content to die for you.

MEREFOOL

For me?

JOHPHIEL

For you. Last New Year’s day, which some give  out,65

Because it was his birthday and began

The  year of jubilee, he would rest upon it,

Being his hundred five and  twentieth year;

But the truth is, having observed your genesis,

 He would not live, because he might leave all70

He had to you.

MEREFOOL

What had he?

JOHPHIEL

Had? An office,

Two, three, or four.

MEREFOOL

Where?

JOHPHIEL

In the upper region,

And that you’ll  find: the farm of the  great customs,

Through all the ports of the air’s intelligences;

Then constable of the Castle Rosy-Cross,75

Which you must be, and keeper of the keys

Of the whole  cabal, with the  seals; you shall be

Principal secretary to the stars,

Know all their  signatures and  combinations,

The  divine rods and consecrated   roots,80

What not? Would you turn trees up like the wind

To show your strength? March over heads of armies,

Or points of pikes, to show your  lightness? Force

All doors of arts with the   petard of your wit?

Read at one view all books? Speak all the languages85

Of  several creatures? Master all the learnings

 Were, are, or shall be? Or, to show your wealth,

Open all treasures hid by nature, from

The rock of diamond to the mine of  sea-coal?

Sir, you shall do it.

MEREFOOL

But how?

JOHPHIEL

Why, by his skill,90

Of which he has left you the inheritance

Here in a pot: this little  gallipot

Of  tincture, high rose tincture. There’s your  order;

  (He gives him a rose.)

You will ha’ your collar sent you ere’t be long.95

MEREFOOL

I looked, sir, for a  halter; I was desperate.

JOHPHIEL

Reach forth your hand.

MEREFOOL

Oh, sir, a broken sleeve

Keeps the arm back, as ’tis i’the  proverb.

JOHPHIEL

Nay,

For that I do commend  you: you must be poor

With all your wealth and learning.   When you ha’ made100

Your  glasses, gardens in the depth of winter,

Where you will walk invisible to mankind,

Talked with all birds and beasts in their own language;

When you have penetrated hills like air,

Dived to the bottom of the sea like lead,105

And ris’ again like cork, walked in the fire

 As ’twere a  salamander, passed through all

The winding  orbs, like an intelligence,

Up to the  Empyreum; when you have made

The world your gallery, can dispatch a business110

In some three minutes with the  Antipodes,

And in five more negotiate the globe over,

You must be poor still.

MEREFOOL

By my  place, I know it.

JOHPHIEL

Where would you wish to be now, or what to see,

Without the  fortunate purse to bear your charges,115

Or  wishing hat? I will but touch your temples,

The corners of your eyes, and tinct the tip,

The very tip o’your nose with this  collyrium,

  [Showing a jar of salve]

And you shall see i’the air all the  ideas,120

Spirits and  atoms,  flies that buzz about

This way and that way, and are rather  admirable

Than any way intelligible.

MEREFOOL

Oh, come,  tinct me,

Tinct me! I long,  save this great belly, I long.

But shall I only see?

JOHPHIEL

 See and command,125

 As  they were all your  valets or your foot-boys.

But first you must declare – Your Greatness must,

For that is now your  style – what you would see,

Or whom.

MEREFOOL

Is that my style? My Greatness, then,

Would see King  Zoroastres.

JOHPHIEL

Why, you shall;130

Or anyone beside. Think whom you  please,

Your thousand, your ten thousand, to a million;

All’s one to me if you could name a myriad.

MEREFOOL

I have named him.

JOHPHIEL

 You’ve reason.

MEREFOOL

Ay, I have reason:

Because he’s said to be the father of conjurers,135

And a cunning man i’the stars.

JOHPHIEL

Ay, that’s it troubles us

A little for the present; for at this time

He is  confuting a French almanac,

But he will straight have done. Ha’ you but patience,

Or think but any other in meantime,140

Any hard name.

MEREFOOL

Then  Hermes Trismegistus.

JOHPHIEL

  Ho Trismegistos? Why, you shall see him;

A fine  hard name.  Or him, or whom you will,

As I said to you afore. Or what do you think

Of  Howleglass instead of him?

MEREFOOL

No, him145

I have a mind to.

JOHPHIEL

Oh, but  Eulenspiegel

Were such a name! But you shall have your longing.

What luck is this,  he should be busy too!

He is weighing water but to fill three hourglasses,

And mark the day in  penn’orths  like a cheese,150

And he has done. ’Tis strange you should name him

Of all the rest, there being  Iamblichus,

Or  Porphyry, or  Proclus, any name

That is not busy!

MEREFOOL

Let me see  Pythagoras.

JOHPHIEL

Good.

MEREFOOL

Or Plato.

JOHPHIEL

Plato is framing some ideas155

Are now  bespoken at a  groat a dozen,

Three gross at least; and for Pythagoras,

 He’s rashly run himself on an employment

Of keeping asses from a field of  beans,

And cannot be staved off.

MEREFOOL

Then  Archimedes. 160

JOHPHIEL

Yes, Archimedes!

MEREFOOL

Ay, or  Aesop.

JOHPHIEL

Nay,

Hold your first man, a good man, Archimedes,

And worthy to be seen; but he is now

Inventing a rare mousetrap  with owls’ wings

And a cat’s foot, to catch the mice alone;165

And Aesop, he is  filing a fox tongue

For a new fable he has made of court.

But you shall see ’em all, stay but your time

And ask in season;  things asked out of season

A man denies himself. At such a time170

As Christmas, when  disguising is  afoot,

To ask of the inventions and the men,

The wits and the   engineers that move those orbs!

Methinks you should inquire now after  Skelton,

Or Master  Scogan.

MEREFOOL

Scogan? What was he? 175

JOHPHIEL

Oh, a fine gentleman and a Master of Arts

Of Henry the Fourth’s times, that made  disguises

For the king’s sons, and writ in  ballad royal

Daintily well.

MEREFOOL

But wrote he like a gentleman?

JOHPHIEL

In rhyme! Fine  tinkling rhyme! And  flowand verse!180

With now and then some sense! And he was  paid  for’t,

Regarded and rewarded, which few poets

Are nowadays.

MEREFOOL

And why?

JOHPHIEL

’Cause every dabbler

In rhyme is thought  the same. But you shall see him.

Hold up your nose.  [Anoints him.]

MEREFOOL

I had rather see a  brahmin,185

Or a  gymnosophist yet.

JOHPHIEL

You shall see him, sir,

 Is worth them both. And with him  Domine Skelton,

The worshipful  poet laureate to King  Harry,

And  Tityre tu of those times. [Calling] Advance,  quick Scogan,

And quicker Skelton, show your  crafty heads190

Before this heir of arts, this lord of learning,

This master of all knowledge  in reversion!

Enter SCOGAN and SKELTON, in  like habits as they lived.

  SCOGAN

 Seemeth we are called of a moral intent,

If the words that are spoken as well now be meant.195

JOHPHIEL

That, Master Scogan, I dare  you ensure.

SCOGAN

Then, son, our acquaintance is like to endure.

MEREFOOL

A pretty game, like   crambo! Master Scogan,

Give me thy hand.  Thou’rt very lean, methinks.

 Is’t living by thy wits?

SCOGAN

If it had been that,200

My worshipful son, thou hadst ne’er been so fat.

JOHPHIEL

[To Merefool] He tells you true, sir. [To the poets] Here’s a gentleman,

My pair of crafty clerks, of that high  caract,

As hardly hath the age produced his like;

Who, not content with the wit of his own times,205

Is curious to know yours, and what hath been –

MEREFOOL

Or is, or shall be.

JOHPHIEL

Note his  latitude!

SKELTON

  O, vir amplissimus! –

Ut scholis dicimus

Et gentilissimus!

JOHPHIEL

 The question-issimus210

Is, should he ask a sight now  for his life,

I mean a person he would have restored

To memory of these times, for a playfellow,

Whether you would present him with an  Hermes

Or with an Howleglass?215

SKELTON

 An Howleglass

 To come to pass

On his father’s ass;

There never was

By day nor night220

A finer sight,

With feathers upright

In his  hornèd cap,

And crooked shape,

Much like an ape,225

With owl on fist,

And  glass at his wrist.

SCOGAN

 Except the four  knaves entertained for the guards

Of the kings and the queens that triumph in the cards.

JOHPHIEL

Ay, that  were a sight and a half, I confess,230

To see ’em come skipping in, all at a  mess!

SKELTON

With  Elinor Rumming

To make up the  mumming,

That comely Jill

That dwelt on a hill,235

But she is not  grill,

Her face all  bowsy,

Droopy and drowsy,

Scurvy and lousy,

 Comely crinkled,240

  Wondersly wrinkled,

Like a roast pig’s ear

Bristled with hair.

SCOGAN

Or what do you say to Ruffian  Fitz-Ale?

JOHPHIEL

An excellent sight, if he be not too  stale.245

But then we can mix him with  modern Vapours,

The child of tobacco, his pipes and his  papers.

MEREFOOL

You talked of Elinor Rumming. I had rather

See  Ellen of Troy.

JOHPHIEL

Her you shall see.250

But  credit me,

That  Mary Ambree –

Who marched so free

To the siege of Gaunt,

And death could not daunt,255

As the ballad doth vaunt –

Were a  braver wight

And a better sight.

SKELTON

Or Westminster  Meg,

With her long leg,260

 As long as a crane,

And feet like a  plane;

With a pair of heels

As broad as two wheels,

To drive down the dew265

As she goes to the  stew,

And turns home merry

By  Lambeth ferry.

Or you may have come

In,  Thomas Thumb,270

In a pudding fat

With  Doctor Rat.

JOHPHIEL

Ay, that! that! that!

We’ll have ’em all,

To fill the hall.275

The antimasque

 

follows, consisting of these twelve persons

:  

HOWLEGLASS, the four

KNAVES, two RUFFIANS, FITZ-ALE and

 

VAPOURS,

 

ELINOR RUMMING, MARY AMBREE,

LONG MEG OF WESTMINSTER, TOM THUMB, and DOCTOR

 

RAT.

Which done:

MEREFOOL

What, are they vanished? Where is  skipping Skelton?280

Or moral Scogan? I do like their show,

And would have thanked ’em, being the first grace

The company of the Rosy Cross hath done me.

JOHPHIEL

The company o’the Rosy Cross! You  widgeon,

The company of  players. Go, you are285

And will be still yourself, a  Merefool. In,

And take your pot of  honey here, and hog’s grease;

See who has gulled you, and  make one.  [Exit Merefool.]

[To James] Great king,

Your pardon, if desire to please have trespassed.

This fool should have been sent to   Anticyra,290

The isle of  hellebore, there to have purged,

 Not hoped a happy seat within your  waters.

Hear now the message of the Fates and Jove,

On whom those Fates depend, to you as Neptune,

The great commander of the seas and isles.295

That  point of revolution being come

When all the  Fortunate Islands should be joined,

 Macaria, one, and  thought a principal,

That hitherto hath floated, as uncertain

Where she  would fix her blessings, is tonight300

Instructed to adhere to your Britannia;

That where the happy spirits live, hereafter

Might be no question made by the most curious,

Since the Macarii come to do you homage

And join their cradle to your continent.305

Here the scene opens and the masquers are discovered sitting in their

 

several sieges. The air

opens above, and APOLLO with HARMONY and the SPIRITS OF MUSIC sing, the

while the island moves forward, PROTEUS sitting below and hearkening.

Song

APOLLO

 seas,310 Look forth, the  shepherd of the

And  of the ports that   keep’st the keys,

And to your Neptune tell,

Macaria, prince of all the isles,

Wherein there nothing grows but smiles,

Doth here put in to dwell.315


The winds are sweet and gently blow;

 But  Zephyrus, no breath they know,

The father of the flowers;

By him the virgin violets live,

And every plant doth odours give,320

 As new as are the hours.


CHORUS

Then think it not a common cause

That to it so much wonder draws,

And all the heavens consent

With Harmony to tune their notes,325

In answer to the public  votes

That for it up were sent.

By this time the island having joined itself to the shore, PROTEUS, PORTUNUS, and

 

SARON come forth, and

 

go up singing to the state

 

, while the masquers take time to rank

themselves.

330

Song

PROTEUS

Ay, now the heights of Neptune’s honours shine,

And all the glories of his greater  style

Are read, reflected in this happiest isle.

PORTUNUS

How both the air, the soil, the seat combine335

To speak it blessèd!

SARON

These are the true groves,

Where joys are born,

PROTEUS

Where longings,

PORTUNUS

And where loves!

SARON

That live!

PROTEUS

That last!

PORTUNUS

No  intermitted wind

Blows here but what leaves flowers or fruit behind.

CHORUS

’Tis odour all, that comes!340

And every tree doth  give his gums.

PROTEUS

There is no sickness, nor no old age known

To man, nor any grief that he dares  own.

There is no hunger there, nor envy of state,

Nor least ambition in the magistrate;345

But all are even-hearted, open, free,

And what one is, another strives to be.

PORTUNUS

Here all the day they feast, they sport, and spring;

Now dance the graces’  hay, now Venus’ ring,

To which the old musicians play and sing.350

SARON

There is  Arion, tuning his bold harp,

From flat to sharp.

PORTUNUS

And light  Anacreon,

 He still is one!

PROTEUS

 Stesichorus there, too,

That  Linus and old Orpheus doth outdo

To wonder.

SARON

And  Amphion, he is there!355

PORTUNUS

 Nor is Apollo  dainty to appear

In such a choir; although the trees be thick,

PROTEUS

He will look in and see the  airs be quick,

And that the times be true.

PORTUNUS

Then chanting,

PROTEUS

Then,

Up with their notes they raise the  prince of men,360

SARON

And sing the present prophecy that goes

Of joining the bright  lily and the rose.

CHORUS

See! All the flowers,

PROTEUS

That spring the banks along,

Do move their heads unto that  undersong.

CHORUS

Saron, Portunus, Proteus, help to bring365

 Our primrose in, the glory of the spring!

And tell the daffodil,  against that day,

That we prepare new garlands fresh as May,

And interweave the  myrtle and the  bay.

This sung, the island goes back, whilst the upper Chorus

 

takes it from them

,

and the

370

masquers prepare for their

 

figure.

CHORUS

  Spring all the graces of the age,

And all  the Loves of time;

Bring all the pleasures of the stage,

And relishes of rhyme;375

Add all the softnesses of courts,

The looks, the laughters, and the   sports,

And mingle all their sweets and  salts,

That none may say the triumph halts.

The masquers dance their

 

entry, or first dance.

380

Which done, the first

 

prospective, a maritime palace, or the house of Oceanus, is discovered to loud music.

 

The other above

is no more seen.

JOHPHIEL

Behold the palace of Oceanus!

Hail, reverend structure! Boast no more to us

Thy being able all the gods to feast;385

We saw enough, when  Albion was thy guest.

The

 

measures.

After which the second prospective, a sea, is shown, to the former music.

JOHPHIEL

Now turn and view the wonders of the deep,

Where  Proteus’ herds and Neptune’s  orcs do  keep;390

Where all is ploughed, yet still the pasture’s  green;

New ways are found, and yet no paths are seen.

Here Proteus, Portunus, Saron go up to

 

the ladies with this song.

PROTEUS

Come, noble nymphs, and do not hide

The joys for which you so provide.395

SARON

If not to mingle with  the men,

What do you here? Go home again.

PORTUNUS

Your  dressings do confess,

By what we see, so curious  parts

Of  Pallas’ and Arachne’s arts,400

 That you could mean no less.

PROTEUS

Why do you wear the silk-worm’s toils,

Or glory in the  shellfish spoils,

Or strive to show the grains of ore

That you have gathered  on the shore,405

Whereof to make a stock

To graft the  greener emerald on,

Or any  better-watered stone,

SARON

Or ruby of the rock?

PROTEUS

Why do you smell of  ambergris,410

 Of which was formèd  Neptune’s niece,

The queen of love, unless you can,

Like sea-born Venus, love  a man?

SARON

Try, put yourselves unto’t.

CHORUS

Your looks,  your smiles, and thoughts that meet,415

  Ambrosian hands, and silver feet,

Do promise you will do’t.

The

 

revels follow.

Which ended, the fleet is discovered, while the three

 

cornetts play.

JOHPHIEL

’Tis time your eyes should be refreshed at length420

With something new, a part of Neptune’s strength.

See yond his fleet, ready to go or come,

Or fetch the riches of the Ocean home,

So to secure him, both in  peace and wars,

Till not one ship alone but all be stars.425

Then the last song.

PROTEUS

Although we wish the glory still might last

Of such a night, and for the causes past,

Yet now, great lord of waters and of isles,

Give Proteus leave to turn unto his  wiles.430

PORTUNUS

And whilst young Albion doth  thy labours ease,

Dispatch Portunus to thy ports,

SARON

And Saron to thy seas,

To meet old  Nereus, with his fifty girls,

From agèd  Indus laden home with pearls

And orient gums to burn unto thy name.435

CHORUS

And may thy subjects’ hearts be all  one  flame,

Whilst thou dost keep the earth in firm estate,

And ’mongst the winds dost suffer no debate,

But both at sea and land our powers increase,

With health and all the golden gifts of peace.440

After which, their last dance.

THE END 

10 Hic . . . vigent Here dances and songs flourish (Tibullus, 1.3.59).
Title page 1 ISLES] Q; ISLES, F2
Title-page Twelfth Night In fact, the performance was on 9 January, the masque being postponed because the King was in poor health.
1 1625] H&S; 1624 Q; 1626 F2; 1624–5 Nichols
1 Hic . . . vigent ‘Here dances and songs flourish’ (Tibullus, 1.3.59).
1–2 JOHPHIEL . . . intelligence An intelligence is a member of a lower order of angels, believed in Aristotelian cosmology to direct the spheres or heavenly bodies. Cf. Jonson’s marginalia to King’s Ent., marginal note 87; Und. 67.19–24; John Donne, ‘Air and Angels’, 22–4, and ‘The Ecstasy’, 52; and Marlowe, Dr Faustus, eds. Bevington and Rasmussen, 2.3.57 (A-Text). In Cornelius Agrippa’s De occulta philosophia (‘Of Occult Philosophy’, 1510, rev. 1533), the intelligence of Jupiter’s sphere is identified as Zadkiel; ‘Iophiel’ is also named but assigned to the sphere of the zodiac. See Agrippa (1992), 289.
2 Magi Occult philosophers, learned in the secrets of nature; originally, Persian priests, whose magic and astrology were, in the Renaissance, often thought of as preserving a spiritual wisdom older than Christianity.
3 hair wig. Inigo Jones’s costume design (Illustration 94; Orgel and Strong, 1.379) shows an angelic figure with long hair, but no chaplet or fan.
4 4.0 Q and F2 print a rule after the SD
5–12 Johphiel’s verses were probably spoken, not sung, for Q reserves italic for sung passages and prints these lines in roman. The distinction is carefully marked when he interrupts the songs of the main masque (383–6, 389–2, 420–5).
8 sparrow, dove Birds sacred to Cupid’s mother, Venus.
14 cloak . . . hat This does not correspond to Jones’s costume sketch, which shows Merefool in doublet and hose but with no cloak, and wearing a stovepipe hat with a small brim. Nor does Jones depict him as especially fat, which we later learn must be the case (see 34n.).
14, 47 master] Mr. Q, F2 (subst.)
15 MEREFOOL] F2 (subst.); Q prints the name only as c.w. and the next SH
17 SD] this edn; not in Q
17 my lord i.e. Jupiter, son of Saturn.
20 bombing booming, reverberating (OED, Bombing ppl. a. 1), but perhaps also ‘explosive’. Cf. EMO, 3.1.254–5.
20–1 No? . . . intelligence? . . . yet?] this edn; No! . . . Intelligence! . . . yet! Q
20 intelligence news.
22 had seen would have gained their eyesight. Puppies were thought to be blind at birth; see ‘blind puppies’, Oth., 1.3.336.
24 brethren . . . Cross A fictitious secret society, supposedly founded by Christian Rosenkreuz (1378–1484) but first mentioned in three German pamphlets, Fama fraternitatis (1614), Confessio fraternitatis (1615), and Chymische hochzeit Christiani Rosenkreutz (1616). At least the first of these was written by the mystical Protestant theologian Johann Valentin Andreae (1586–1654) of Tubingen; by 1622, nearly 200 replies had been printed. The pamphlets, which are often highly esoteric and fanciful in nature, laid claim to a secret hermetic or alchemical knowledge that was working to create a new international brotherhood, based on principles of spiritual transformation and apocalyptic perfectibility. The Rosicrucians probably never really existed, but such millennial sentiments, and the pamphlets in which they were poured out, were an outgrowth of the political upheavals afflicting German Protestantism in this period. See Staple, 3.2.99; Und. 43.72; and Yates (1972) and McIntosh (1992).
25 SD] this edn; not in Q
27 fly familiar spirit; cf. Alch., 1.2.43, 84.
31 Observed ’em Followed the rules of the brethren. Merefool’s rituals are intended to prepare him to receive the spiritual gift he is expecting. They recall those enjoined on Dapper in Alch., 1.2.164–70.
32 faggot bundle of rushes (normally used for floor covering).
32–3 hungered . . . thirsted Echoing Matthew, 5.6: ‘Blessed are they which do hunger and thirst after rightousness’ (AV).
33 SD] this edn; not in Q
33 after ’em i.e. after the brethren, whom Merefool is ‘thirsty’ to encounter.
34 Which . . . be Johphiel comments wryly that the hefty Merefool is not likely to be thin anytime soon. As 124, 201, and 208 suggest, the actor playing Merefool must have been fat. He was probably played by the King’s Men’s clown, William Rowley (c. 1585–1626), who was known for outsize roles, most famously the fat bishop in Middleton’s Game at Chess (1624). See Christmas, Introduction; Pleasure Rec., 4n.; Augurs, 17n.; and Neptune, 4n.
36 solitary circle because ghosts haunt one restricted piece of ground.
37 Ran . . . score Ran up a bill; incurred debts.
39 abate cast down, humble.
42 whimsy dizziness.
43 staggers (1) an affliction (especially of horses) causing palsylike staggering (cf. Shr., 3.2.54); (2) doubt, uncertainty.
47 Merryfool,] F3; Mery-Foole. Q, F2
47 our my and my family’s.
48 Merefool The speaker seems unaware that the contraction turns ‘a merry, carefree person’ into ‘a mere fool’.
51 employed sent.
52 Outis Literally, ‘Nobody’ (Greek). In Homer’s Odyssey, 9.364–412, Ulysses tells the Cyclops that this is his name; the device helps him to escape from the Cyclops’s cave by preventing the blinded Cyclops from summoning help to catch him, since when Cyclops is asked what is the problem he replies that Nobody is hurting him (and see Oberon, 161). Cf. the idiom ‘If you know not me, you know nobody’ (used as the title of two plays by Thomas Heywood, 1603–5); and Althorp, 242–91.
53 you] F2; not in Q
55 forest . . . trees Presumably this is a spiritual forest or a forest of the mind, similar to the castle in the air mentioned below. Rosicrucian literature involved much arcane mysticism and imagery.
56–9 castle . . . blade Johphiel summarizes an allegorical print published with Theophilus Schweighardt’s Speculum sophicum rhodo-stauroticum (The Mirror of Rosicrucian Wisdom, 1618); see Illustration 96. This depicts the Rosicrucians’ ‘invisible college’, which consists of a castle running on wheels, with wings at the top and suspended by a hand from the heavens, surrounded with mystical symbols and inhabited by warriors armed with quill pens. Jonson also refers to this print in News NW, 171–2.
57 Rhodostaurotic Rosicrucian; literally, of the rosy cross.
58 Julian de Campis Pseudonym of Julius Sperber (d. 1616), author of Rosicrucian tracts and other mystical theology. A gigantic arm holding a sword and labelled ‘Iulian de Campis’ protrudes from the castle in Schweighardt’s print.
59, 61 SD] this edn; not in Q
63 this . . . return at my next return to them
63 father i.e. Father Outis (52).
65 out,] F3; out Q, F2
67 year of jubilee year of emancipation (Leviticus, 25.10); usually every fifty years.
68 twentieth] F2; twentith Q
70–1 He . . . you Echoing the usurer Security in East Ho!, 2.2.127–8, who wishes he could die so that Quicksilver might inherit his estate.
73 find:] Orgel; find. Q
73 great customs tolls on imports and exports, as opposed to the ‘little customs’ levied at inland markets. Such taxes were often held as a ‘farm’, i.e. collected at the ports on the crown’s behalf by merchants who took a cut in the money raised (see OED, Farm, n.1, 2). All the offices that Johphiel lists parody the titles of real court appointments.
77 cabal (Q: Kaball) mystical doctrine; possibly, secret group. Alluding to the Cabbala, the Jewish exposition of Scripture, one of the traditions which was absorbed syncretically by neoplatonic mysticism. Cf. Und. 43.71.
77 seals signets; stamps used to impress marks on wax in order to authenticate a public document. Such stamps would be held by the ‘secretary’ (78) or clerk to courts or departments of state.
79 signatures distinguishing marks.
79 combinations (astrological) conjunctions.
80 divine rods magic wands.
80 roots,] after G; roots. Q
80 roots Presumably, plants used in Rosicrucian spells.
83 lightness ability to fly.
84 petard] Q (petarr)
84 petard squib, explosive device.
86 several creatures various beings.
87 Were Which once were.
89 sea-coal mineral coal transported by sea, as distinct from inferior charcoal.
92 gallipot ointment pot.
93 tincture quintessence; a term from alchemy.
93 order insignia, badge of membership; usually worn on a collar (95) or golden chain.
94 SD] marginal note in Q, with a superscript a beside ‘Order’; not in F2
96 halter noose.
98 proverb ‘A worn sleeve keeps back the arm’ (Tilley, S53); that is, the humiliation of poverty makes me reluctant to advance myself.
99–100 you . . . learning An allusion to the fabled poverty of scholars, who have riches of the mind but not of the person. Merefool will have all kinds of powers but will be none the richer for any of them (see 113) – rather like Dapper in Alch., who will gain no material benefit from all the miraculous skills he believes his fly will confer.
100–13 A list of the various marvels and paradoxical accomplishments that Merefool will be able to achieve with Rosicrucian help. For Rosicrucian invisibility and other marvels, cf. Und. 43.72–5.
101 glasses Presumably these are perspective devices that create optical illusions, as in Augurs, 193.
107 As] H&S; An Q, F2
107 salamander lizard, mythically supposed to be able to live in fire.
108 orbs celestial spheres of the planets and fixed stars.
109 Empyreum Empyrean; the highest heaven. Q’s spelling predates OED’s other examples, which all belong to the period 1647–1777.
111 Antipodes Those who supposedly dwell on the opposite side of the globe.
113 place calling (as an impoverished scholar).
115 fortunate purse magic purse that was never empty: the subject of Dekker’s play Old Fortunatus (1599).
116 wishing hat A hat that confers magical powers. One is stolen from the Sultan of Babylon by Old Fortunatus in Dekker’s play of that name.
118 collyrium salve.
119 SD] this edn; not in Q
120 ideas Platonic archetypes of things; bodiless essences (see 155–6).
121 atoms Jonson more commonly used the form ‘atomi’: see Sej., 1.257, and Epigr. 133.127.
121 flies spirits.
122 admirable to be wondered at.
123 tinct me subject me to a transforming elixir (OED, 3). An alchemical term; compare OED, ‘tincture’ 6, ‘a supposed spiritual principle or immaterial substance whose character or quality may be infused into material things’. Cf. Alch., 2.3.58.
124 save . . . belly i.e. despite this great belly which makes me look pregnant and longing for things as pregnant women do.
125–6 Merefool’s longing to see ancient or divine figures, and Johphiel’s hint that he might be able to command them, is a kind of inverted echo of Mephistophilis endowing Faustus with magical powers, and showing him great heroes such as Alexander. See also 249n. below.
126 As As if.
126 they the spirits and atoms (121 above).
126 valets] Q (vallets); varlets F2
128 style title.
130 Zoroastres Zoroaster or Zarathustra, Persian sage (sixth century bc?) and founder of Zoroastrianism, the religion of the Magi.
131 please,] after Wh; please? Q, F2
134 You’ve] F3; You’haue Q; You’ave F2
138 confuting disproving; putting to silence.
141 Hermes Trismegistus Literally, ‘thrice greatest Hermes’, the Greek name for the Egyptian god Thoth. In the Renaissance he was thought to have been an Egyptian sage living around the time of Moses. His mystical wisdom was supposedly preserved in the Hermetica, a collection of esoteric and neoplatonic writings believed by some at this time to be an older and more powerful alternative to the Greek philosophical tradition. A copy of Hermes’ Opuscula (1611), owned successively by Jonson and John Selden, is now in the Bodleian Library.
142 Ho Trismegistos] this edn, conj. H&S; Ο, ὁ τρισμέγιστος Q, F2
142 Ho The (Gr.). In emending Q’s ‘O, ό’ to a single word, I follow H&S’s conjecture that its duplication, in English and Greek, is a Jonsonian oversight.
143 hard difficult; obscure.
143 Or Either.
145 Howleglass The English rendering of Tyll Eulenspiegel, the medieval German prankster whose legendary exploits were first printed in English in 1528. The modern spelling would be ‘Owlglass’ (‘howle’ or ‘howlet’ being an early form of ‘owl’), but the older spelling is preserved here for the sake of its alliteration with ‘Hermes’ at 214. In Robert Laneham’s Letter wherein part of the Entertainment unto the Queen’s Majesty at Killingworth Castle . . . is Signified (1575), 34, ‘Howleglas’ is listed among the books of popular literature supposedly to be found in the library of the Coventry mason Captain Cox, who took a leading part in the festivities. Other books or ballads owned by Cox include ‘Skogan’ and ‘Elynor Running’, characters who appear with Howleglass in the antimasque below. (Laneham is the main source for the Masque of Owls.) See also Alch., 2.3.32.
146 Eulenspiegel] Q (Vlen-spiegle)
148 he Hermes Trismegistus.
150 penn’orths pennyworths; small quantities.
150 like a cheese Unexplained; because a round cheese would be cut into small, cheaper segments?
152 Iamblichus Syrian neoplatonic philosopher (c. ad 250–325), author of books on the doctrines of Pythagorus and on Egyptian ritualistic magic.
153 Porphyry Greek neoplatonic philosopher (ad 233–304), studied under Plotinus at Rome, master of Iamblichus. He was a prolific author of works on philosophy and religion, including a commentary on Aristotle’s Organon and a treatise against Christianity.
153 Proclus (ad 412–85), the last influential pagan neoplatonist, author of The Elements of Theology and treatises on mathematics.
154 Pythagoras Greek mathematician and philosopher (sixth century bc); proponent of mystical doctrines about the perfectibility of the soul and harmony of the universe. He, and the other neoplatonists, are invoked as representatives of a pagan mysticism predating Christianity that supposedly gave access to nature’s secret powers.
156 bespoken commissioned.
156 groat four pence.
158 He’s] Orgel; He ’has Q, F2
159 beans According to tradition, Pythagoras and his followers abstained from eating beans.
160 Archimedes Famous Greek mathematician and inventor (287–212 bc).
161 Aesop Famous writer of fables (sixth century bc).
164–5 with . . . foot Presumably this would be a super-efficient mechanical device, constructed from parts of the mouse’s two main predators.
166 filing . . . tongue Because political satire needs a sharp and cunning tongue. Cf. Und. 86.14.
169–70 things . . . himself to ask for something out of season is to set oneself up for a disappointment.
171 disguising The precursor of the masque: a courtly entertainment involving persons entering in masquerade, and much in vogue at the early Tudor court.
171 afoot] Q (o’ foote)
173 engineers] H&S (inginers); ingines Q, F2
173 engineers H&S’s emendation (to Q’s ‘ingines’) draws out the underlying image. The court wits operate Christmas inventions as intelligences move their ‘orbs’ (cf. 2 above).
174 Skelton John Skelton (1460–1529), humanist and poet. Jonson probably remembered and valued him as a writer who had been orator regius and was awarded the title of ‘poet laureate’ (see 188n. below). But he was also associated with skipping ‘Skeltonic’ verse (see 216–27n.), and through this became part of sixteenth-century popular and comic tradition. He is the hero of the jest-book, Merry Tales Newly Imprinted and Made by Master Skelton Poet Laureate (1567), and appears in Long Meg of Westminster (c. 1582; see 259n. below); extracts from Eleanor Rumming are extensively used in Pimlico, or Run Redcap, ’Tis a Mad World at Hoxton (1609). In Jones’s costume design (Illustration 94), Skelton wears a long gown and a long-eared cap that make him look rather like Dante.
175 Scogan Henry Scogan (1361?-1407), poet and friend of Chaucer, and addressee of Chaucer’s ‘Lenvoy a Scogan’. His ‘Moral Ballad’ addressed to the four sons of Henry Ⅳ – to whom he was tutor – was printed in sixteenth-century editions of Chaucer. Like Skelton, Scogan is invoked in part because he is an early example of an English poet who worked in the service of royalty. However, by associating him with ‘disguises’, Jonson may have been partially conflating him with his namesake John Scogan, a pseudo-historical figure known from a popular late sixteenth-century jest-book, The Jests of Scogan, and supposedly jester to the court of Edward Ⅳ. Shakespeare makes the same mistake in 2H4, 3.2.23. Skelton is associated with ‘Skogyn’ in the jest-book Merry Tales (see previous note), and ‘Skogan’ is listed in Captain Cox’s library (see 145n. above).
177 disguises disguisings; see 171 above.
178 ballad royal seven-line stanzas, rhyming ababbcc; also called ‘rime royal’.
180 tinkling rhyme Jonson disparages ‘tinkling rhymes’ in Forest 12.87, and humorously attacks such versifying in Und. 29.
180 flowand flowing. A fake archaism; cf. Sad Shep., 2.1.37, ‘command’.
181 paid for’t Jonson’s own difficulties in getting his pension paid are charted in Und. 57, 68, and 76 (Und. 57 being a plea for payment written in Skeltonics).
181 for’t] Q state 2, F2; for it Q state 1
184 the same of the same low quality.
185 SD] G (subst.); not in Q, F2
185 brahmin] Q (Brachman)
186 gymnosophist Indian ascetic, often semi-naked and performing strange feats of bodily endurance; described in Pliny’s Natural History, 7.20.2.
187 Is Who is.
187 Domine Master (Lat.).
188 poet laureate Skelton did indeed carry the title ‘poet laureate’, though it was awarded to him by Louvain University, rather than the court. Many of his printed poems call him ‘poet laureate’ on their title-pages, and for Jonson’s knowledge of Skelton’s poem on the laureateship, The Garland of Laurel, see Gold. Age, 107n. The title was not officially adopted at court until the days of Dryden, though Poetaster and John Selden’s additions to the 1631 edition of his Titles of Honour (see the Literary Record, Electronic Edition) show that Jonson was very interested in it. His royal pension had made him poet laureate in all but name.
188 Harry Henry Ⅷ.
189 Tityre tu The opening words of Virgil’s first Eclogue (literally, ‘Tityrus, you [recline beneath the spreading beech and practise a woodland melody on your reed-pipe]’); suggestive of relaxation and unbridled self-indulgence. In 1623 the London authorities were investigating a gang of roisterers who had organized themselves into a gang called the ‘Tityre tus’, and went in for drinking, smoking, and fighting. John Chamberlain (Letters, ed. McClure, 1939), 2.350, says the members originally came from the regiment of English troops in the Low Countries led by the Catholic Lord Vaux. See also Kerrigan (1988), 312.
189 quick (1) living; (2) nimble.
190 crafty clever.
192 in reversion to fall due (a legal phrase: the right to possession of property or an office on the death of the present owner).
193 like habits the same clothes. In fact, Inigo Jones’s design for Skelton and Scogan dresses them unhistorically in antique costume.
193 scogan] Q, F2 (SKOGAN)
194–201 Skelton and Scogan speak in a four-stressed anapaestic metre which marks out their speech as historically archaic, and recalls the skipping verse-forms of some of Skelton’s poems.
196 you ensure warrant you.
198 crambo] Q, F2 (Crambe)
198 crambo A game, used in taverns, in which each player gives a line of verse with a rhyme-word that the next must cap. Dekker, The Seven Deadly Sins (1606), 3, calls it one of ‘the learned rules of drunkenness’.
199 Thou’rt] F2; Thou’art Q
200 Is’t Is it from.
203 caract (1) character, mark; (2) value, carat. The two senses were closely entwined at this time. See EMI (F), 3.3.22, and OED, Carat 4.
207 latitude breadth.
208–10 ‘O most great, as we say in the schools [i.e. among the learned], and noble man.’ Amplissimus puns on ‘very honourable’ and ‘very fat’ (Orgel).
210 The question-issimus The most important question. A comical pseudo-Latin formation.
211 for his life to be restored to life.
214 Hermes See 141n.
216–27 A passage in ‘Skeltonics’, short verses rhyming in two-, three-, or four-line groups, such as Skelton himself specialized in. Jonson also used Skeltonics in Und. 57, which could belong to any date between 1621 and 1631.
217 Entering and passing before the viewer.
223 hornèd cap a jester’s cap, with long protruding horns and perhaps bells on the ends.
227 glass Either a drinking vessel, or a mirror, in which the spectator sees his own folly reflected. Skelton describes the emblematic costume that Eulenspiegel will wear in the antimasque at 276; perhaps it derives from some contemporary image, like Holbein’s illustrations for Erasmus’s Praise of Folly.
228 Except Unless. The grammar seems faulty, but Scogan must be referring back to the question-issimus asked at 210–15: I would present him with Howleglass, unless, for preference, we could have the four knaves instead (or, as well as).
228 knaves i.e. the jacks in a pack of playing cards, who arrive at 276. They are used here as representative figures from the popular literature of gaming, knavery, and folly. One famous Elizabethan comedy, The Play of the Cards (now lost) showed the jacks making mischief in the estates of the realm (Chambers, ES, 4.238).
230 were would be.
231 mess set of four. See EMI (F), 1.3.71.
232 Elinor Rumming The alewife and heroine of Skelton’s burlesque poem, The Tunning of Elinor Rumming, which describes her riotous and insalubrious tavern at Leatherhead. It had recently been reprinted, by Bernard Alsop for Samuel Rand, as Elynour Rummin, the Famous Ale-wife of England (1624). Jonson adapted 232–43 from Skelton’s poem: ‘Tell you I chyll, / If that ye wyll / A whyle be styll, / Of a comely gyll / That dwelt on a hyll; / But she is not gryll . . . / Her lothely lere / Is nothing clere, / But ugly of chere, / Droupy and drowsy, / Scurvy and lowsy; / Her face all bowsy, / Comely crynklyd, / Woundersly wrynklyd, / Lyke a rost pygges eare, / Brystled with here’ (Complete English Poems ed. Scattergood, 1983, 1–6, 12–21). See also 145n. above; and Tub, 5.7.24.
233 mumming A visitation or dumbshow by disguised performers. Cf. ‘disguising’ at 171 and note.
236 grill harsh, cruel.
237 bowsy bloated with drink.
240 Comely In a homely way.
241 Wondersly] Q; Wondrously F2; Wonderly H&S
241 Wondersly Wondrously (spelled substantively as in the 1624 reprint of Skelton’s text).
244 Fitz-Ale Literally, ‘Son of Beer’, just as Ruffian Vapours is ‘child of tobacco’ (247). In Welbeck, the name is given to the Derbyshire herald, a much more peaceable character.
245 stale strong (used of well-kept beer); lacking in freshness.
246 modern i.e. Because tobacco is a recent import. ‘Vapours’ refers to the smoke produced by tobacco, but is used in multiple senses in Bart. Fair to mean all kinds of bodily and material exhalations, which express quarrelsomeness and uncontrollability.
247 papers Used to wrap tobacco.
249 Ellen Helen. Merefool’s suggestion further links him to Dr Faustus, who conjured up just this figure, though it is undermined by his use of the familiar form Ellen, here for the sake of alliteration with Elinor. See 125–76n. above.
251 credit me believe me.
252 Mary Ambree A legendary virago who led English volunteers attempting to recapture Ghent from the Prince of Parma, 1584; subject of an anonymous black-letter ballad, ‘The valorous acts performed at Gaunt by the brave bonnie lass Mary Ambree, who in revenge for her lover’s death did play her part most gallantly’. Lines 250–5 adapt the ballad opening: ‘When captains courageous, whom death could not daunt, / Did march to the siege of the city of Gaunt’ (Percy, Reliques, ed. Rhys, 1906, 2.66). See also Epicene, 4.2.101.
257 braver (1) more courageous; (2) finer.
259 Meg Another virago, noted for her tallness and strength, whose exploits at home and abroad were celebrated in The Life of Long Meg of Westminster (1620; earlier edition c. 1582 now lost). The jest-book puts her birth during the reign of Henry Ⅷ; she becomes a friend of Skelton, and fights at the siege of Boulogne (1544). See also Gypsies (Burley), 513n.
261–6 Lines adapted from Skelton’s Tunning: ‘Foted lyke a plane, / Legged lyke a crane . . . / When she goeth out / Her selfe for to shewe, / She dryveth downe the dewe / With a payre of heles / As brode as two wheles’ (Poems, ed. Scattergood, 49–50, 80–4).
262 plane bricklayer’s trowel.
266 stew brothel.
268 Lambeth ferry Horse-ferry between Westminster and Lambeth (a quarter notorious for stews and alehouses).
270 Thomas Thumb A dwarf, first mentioned in 1592 (Nashe, Works, ed. Wilson and McKerrow, 1958, 1.159); a History of Tom Thumb the Little was printed in 1621, and a ballad on him was licensed in 1623 (Arber, 1874–94, 4.63). He may have been played by the court dwarf Archibald Armstrong (see Neptune, 118n.), or possibly by Henrietta Maria’s dwarf Jeffery Hudson (1619–82), who arrived at court around 1626, at which time he was eighteen inches tall (Wright, History  . . . of the County of Rutland, 1684, 105). However, other, unnamed dwarves appeared in some Caroline masques: see Chloridia, 92n.
272 Doctor Rat The curate in the Tudor comedy Gammer Gurton’s Needle (pub. 1575).
276 follows, consisting] Nichols; followes. / Consisting Q
276 howleglass] Q (Owle-glas)
277 vapours] Q; Vapore F2
277 elinor] F3; Elnor Q, F2
278 rat. Which] this edn; Ratt. / Which Q
280 skipping Referring to Skelton’s lighthearted verse, unlike that of ‘moral’ Scogan (cf. 194 above).
284 widgeon wild duck; simpleton.
285 players i.e. the actors, who performed the antimasque.
286 Merefool.] Morley; Mere foole, Q
287 honey, hog’s grease Used in cooking ducks (Orgel).
288 make one be one (a gull) yourself (Orgel).
288 Exit Merefool] G; not in Q
290 Anticyra] Q (Antycira)
290 Anticyra Town in the Corinthian gulf, actually on a peninsula but mistakenly called an island by Pliny (Natural History, 25.5); renowned as the source of the plant hellebore, which produced a drug used in treating mental disease. See Horace, 428; and Calvin, Institution of Christian Religion (1634), 730: ‘Anticyra where groweth hellebore, a good purgation for frantic heads’.
291 hellebore] Q, F2 (Ellebore)
292 Not . . . seat Not hoped to gain a fortunate place.
292 waters realms: addressing James in his character as Neptune, god of the ocean.
296 point of revolution calendrical moment; culmination of time’s cycle.
297 Fortunate Islands Numerous classical texts refer to islands in the west or far north which have a miraculously perfect climate (such as the Hesperides, usually identified with the Canaries) or are the location of the Elysian fields, where reside the souls of the blest. Hesiod says that the demi-gods, earth’s inhabitants before mankind, had ‘homes apart from mortals at Earth’s edge; and there they live a carefree life, beside the whirling Ocean, on the Blessed Isles’ (Works and Days, 169–71); and cf. Homer, Odyssey, 4.563–8. Further copious illustrations can be found in Bennett (1956), 114–28. The link with Britain is discussed in William Camden’s Britannia (1610), 4, which says that the mild British climate ‘persuaded some that those fortunate islands, wherein all things, as poets write, do flourish as in a perpetual springtide, were sometime here with us’. Bishop Thomas Cooper’s Thesaurus linguae Romanae et Britannicae (1565) says that the island’s original name was ‘Olbion’ in Greek, ‘which in English signifieth happy, in Latin foelix’ (Bennett, 1956, 121), though this etymology is discounted in John Selden’s notes on Poly-Olbion (1619): see Drayton, Works, ed. Hebel (1961), 4.16.
298 Macaria Literally, ‘blessed’ (Gr.). Bennett (1956), 127n., compares a similar formula in Pindar, Olympian Odes, 2.70–1: Μακάρων νᾶσον (‘island of the blest’). The name is applied to the beatorum insulae (‘blessed islands’) in the classical dictionary and thesaurus of Charles and Robert Estienne, which Jonson had recently used in compiling the marginalia for Augurs (Starnes and Talbert, 1955, 160–1). The geographer Pomponius Mela (Geography, 2.7) also mentions the island Macaron, known for the temperateness of its air.
298 thought a principal believed to be the greatest.
300 would] Q; should F2
306 several sieges separate seats. Jones’s sketches include a design showing twelve masquers and a musician (presumably Proteus) sitting on a floating island, deeply embowered with palm trees (see Illustration 93; Orgel and Strong, 1.376–7).
310 SH] this edn; not in Q
310–27 This song is printed as continuous verse in Q and F2, but I have carried across the stanza divisions that are used in the parallel passage in Neptune’s Triumph. This song and the following (331–69) are intricately adapted from text written for Neptune but never performed: there are many verbal changes, but the metrical shape of the original songs is exactly reproduced.
310 shepherd . . . seas Proteus, the old man of the sea.
311 of the . . . keys Portunus, the Roman god who protects harbours.
311 keep’st] H&S, after Nichols; keepe Q, F2 (subst.)
311 keep’st Both Q and F2 print ‘keep’, ungrammatically; the parallel line in Neptune, 226, has ‘keep’st’.
317 But Except for.
317 Zephyrus God of the west wind.
321 As . . . hours One of Jonson’s favourite sentiments. See ‘A Song of Welcome to King Charles’ (‘Fresh as the day, and new as are the hours’); and cf. Vision, 130; Staple, 1.5.81; New Inn, 4.3.31; and Chlor., 44.
326 votes prayers; from votum (Lat.), vow.
329 SARON God of navigation: see Neptune, marginal note 10.
329 go up . . . state The three singers advance towards the throne (the ‘state’), walking from the stage and across the dancing space, where they remain for the rest of the performance. But where did Saron and Portunus enter from? Proteus arrives as one of the passengers on the floating island, and perhaps the other singers were similarly introduced, but they are not given a place in Jones’s design, and Proteus’s privileged status as the guide and helper of the masquers had been laid down in the dialogue to Neptune’s Triumph, 90–2. So perhaps Saron and Portunus would have made their entries on the seashore discovered at the first scene change, and joined with Proteus when the floating island came to land, walking forward with him to fill the space during the complicated manoeuvres while the masquers disembarked.
329 go up . . . state The three singers advance towards the throne (the ‘state’), walking from the stage and across the dancing space, where they remain for the rest of the performance. But where did Saron and Portunus enter from? Proteus arrives as one of the passengers on the floating island, and perhaps the other singers were similarly introduced, but they are not given a place in Jones’s design, and Proteus’s privileged status as the guide and helper of the masquers had been laid down in the dialogue to Neptune’s Triumph, 90–2. So perhaps Saron and Portunus would have made their entries on the seashore discovered at the first scene change, and joined with Proteus when the floating island came to land, walking forward with him to fill the space during the complicated manoeuvres while the masquers disembarked.
333 style sovereign title; implicitly, an allusion to James’s title as king of Britain.
338 intermitted meddling, intruding (OED, Intermit v.2 1b). In the corresponding passage in Neptune, 253, the same word is used but its sense, ‘broken’, is quite different.
341 give i.e. ooze forth so that they can be harvested, like sap.
343 own admit to.
349 hay A winding country dance, like a ‘ring’. H&S compare Horace, Odes, 1.4.5–7, describing the arrival of spring: ‘Queening the dance, with a full moon hanging above, the Cytherean [Venus] leads, and the Nymphs and comely Graces follow, stamping the ground to the beat, hands linked.’
351 Arion Legendary poet and musician who, when thrown into the sea, was saved from drowning by the dolphins that loved his music. See Neptune, 133, 350.
352 Anacreon Greek lyric poet, 570–485 bc. For his ‘lightness’, cf. Horace, Odes, 4.9.9: si quid olim lusit Anacreon, ‘the trifles with which Anacreon amused himself’ (H&S).
353 He . . . one He always appears among the number of the oldest poets.
353 Stesichorus Greek lyric poet, 632–552 bc. Called ‘grave Stesichorus’ by Horace (Odes, 4.9.8).
354 Linus, Orpheus Mythical poets and sons of Apollo, regarded as among the founders of poetry. See Augurs, 236.
355 Amphion Mythical musician and son of Zeus, who played the lyre so beautifully that the stones of Thebes moved of their own accord into a wall.
356 Nor is] indented in Q, F2
356 dainty too fastidious.
358, 359 airs, times (With puns on the words’ musical meanings.)
360 prince of men Prince Charles.
362 lily, rose Flowers emblematic of France and England, alluding to Charles’s marriage to Henrietta Maria; cf. Love’s Tr., 171–2. Their union is a ‘present prophecy’ because, although the marriage treaty was already signed, the wedding was not performed until May 1625. Cf. Und. 65.3 and 75.57–60.
364 undersong accompaniment.
366 Our primrose Perhaps metaphorically intended to mean Charles himself, as the first and finest flower of the spring. For ‘primrose’ as ‘the first or best; a person in the flower of youth’, see OED, Primrose, n., 3a. Conventionally, the blooming of the primrose marks the beginning of spring, as in Pan’s Ann., 11 ‘The primrose drop, the spring’s own spouse’ (and see 24–36n.).
367 against in anticipation of.
369 myrtle Sacred to Venus; see Pan’s Ann., 34.
369 bay laurel; used in the garland of a conqueror, and so identifying Charles as both lover and hero.
370 takes . . . them takes over the song from the soloists. For the uncertainties of the syntax in this SD, see Neptune, 286n. For the ‘upper chorus’, see 307.
371 figure formal dance.
372–440 This part of the masque is repeated almost word for word from the unperformed material in Neptune, 288–368.
372 Spring . . . age Elliptical and metaphorical, but the meaning is something like ‘May all the graces of the age confer the blessings of spring on this triumph.’ Cf. similar sentiments and associations between spring, grace, and pleasure in Vision, 5–8, 123–4.
373 the Loves i.e. the numerous Cupids imagined by the poets.
377 sports,] this edn; sports. Q, F2
377 sports playfulness. Cf. the character Sport who appears with Cupid in Time Vind., and see 283n. there.
378 salts pungency.
380 entry The technical term for the formal opening dance performed by the masquers at the arrival; an anglicization of ‘entrée’ from the French ballet de court. Cf. Vision, 204; Lovers MM, 60; Time Vind., 273; and Walls (1996), 231.
380 prospective perspective scene. Jones’s study for this (Illustration 91) is the only full set design to survive from this masque. It is unclear why the text should call this the ‘first prospective’, and that at 388 the ‘second’, given that the discovery described at 306–8 presumably had some perspective element.
382 The . . . above The ‘air’ (306) from which the upper chorus have been singing, and which now closes while the scene below is transformed. Yet the chorus continued to sing in the succeeding dialogues: see the parallel passage in Neptune, 297n.
386 Albion The name given to Prince Charles in Neptune, which allegorized his sea-voyage home from Spain in 1623 as a banquet given to Albion by Oceanus. In Statius’s Achilleid, 1.52–3, Neptune is depicted as returning from a banquet with Oceanus.
387 measures formal dances.
390 Proteus’ herds Seals.
390 orcs whales; sea-monsters.
390 keep inhabit.
391 green;] Wh; greene Q; green, F3
393 the ladies The group of ladies sitting among the spectators who were planning to join the lords in the ‘revels’ at 418. ‘Go up’ here refers to horizontal movement across the masquing space and the hierarchical organization of the audience.
396 the] Q, F2; us Benson 12mo
398 dressings attire. Spectators at the masques were expected to dress in finery to match the splendour of the occasion.
399 parts] Q, F2; arts Benson 12mo
400 Pallas and the mortal woman Arachne competed at weaving; when Pallas lost, she turned Arachne into a spider. See Ovid, Met., 6.1–145.
401 That . . . less i.e. That you always intended to dance, despite the show of reluctance that you put on. The song inviting the ladies to dance, and purporting to overcome their modest denials, was a common convention of masque form.
403 shellfish spoils pearls.
405 on the shore] Q, F2; long before Benson 12mo
407 greener] Q, F2; green Benson 12mo
408 better-watered higher grade. ‘First’, ‘second’, and ‘third water’, used to distinguish between the lustre of the highest grades of diamond, is often applied to other precious stones (OED, Water, n., 20a).
410 ambergris grey amber, a waxlike substance secreted by whales and found floating in tropical seas; used at this time in perfumery.
411 Of which] Q, F2; Whereof Benson 12mo
411 Neptune’s niece Venus. In The Iliad, the equivalent Greek goddess, Aphrodite, is represented as the daughter of Zeus, who was brother to Poseidon (Neptune). However, Jonson also alludes to the alternative tradition, that Venus was born from the foam of the sea; see Hesiod, Theogony, 188–206.
413 a man Adonis, the mortal youth loved by the goddess Venus.
415 your smiles] Q, F2; and your smiles JnB 606
416 Ambrosian] Q, F2; Ambrosiack JnB 606
416 Ambrosian Divine; fragrant.
418 revels social dances, between masquers and spectators.
419 cornetts] Wh, subst.; Corners Q, F2 (subst.)
424 peace and wars In January 1625, the overseas outlook was very uncertain. After the parliament of 1624, James agreed to some limited war measures against the Habsburgs, agreeing to part-finance an expedition to Europe led by the German mercenary Count Mansfeld. But Charles and Buckingham were considerably more eager for war, and a naval attack would be mounted against Cadiz in the first six months of Charles’s rule.
430 wiles Because Proteus was cunning and had the power of shape-changing. In Neptune, Proteus’s inclusion has a political function: he allegorizes the stratagem by which Charles and Buckingham went to Spain in disguise, and projects the deviousness that the English needed to cultivate in their dealings with Philip and his advisers at Madrid. However, in Fort. Is. these allegorical meanings no longer obtain, and Proteus’s wiliness does not correspond to any factor within the current political situation.
432 thy1,2] Q; the F2
433 Nereus God of the Aegean; father of fifty sea-nymphs, the Nereides.
434 Indus The Indian river; here used as a synecdoche for trade to the east and the fabulous riches it promised.
436 one] Q; on F2
436 flame,] F2; flame. Q
442 a note on the masquers Aside from Prince Charles, the only other masquers mentioned by name in the records are the minor courtiers James Bowey and Thomas Cary, the costs of whose costumes were underwritten by the crown (Bowey is misnamed Thomas in the accounts).