Entertainment at Welbeck | The Cambridge Works of Ben Jonson

Edited by James Knowles

INTRODUCTION

This show was performed at Welbeck Abbey, Nottinghamshire, the home of William Cavendish, first Earl of Newcastle, in May 1633, as part of the entertainments for Charles I’s progress towards his coronation in Scotland. Marcus (1986) 130, suggests that the F2 date (21 May) links the occasion with Whitsuntide, a time associated with the taking of communion but also celebration and communal festivity (Hutton, 1994, 36–7). Little is known of the staging, although the ‘gestes’ (the list of planned stages of the journey) for the progress to Scotland indicate that the action took place in the ‘outer court’, that is, on the east side, rather than in the celebrated Great Court, which formed the west and main entrance to the house (Bodleian Library, Rawl. MS D.39; Masque Archive, Welbeck, 5; Worsley, 2003, 128). This choice may have been dictated by the subject matter, as the ‘gestes’ show the largely comic performance depicted Pem as ‘an exceeding tall wench’ and Stub as ‘a very low dwarf’. These comic elements counterpoint the more conventional aspects of the King’s stay at Welbeck, where he was ‘royally feasted’ with ‘a standing banquet . . . amounting to the value of seven hundred pound’. Nothing is known of the actors, musicians, and skilled horsemen that the performance required, although Cavendish was a major musical patron with a substantial consort of musicians (Hulse, 1994). The horsemanship skills displayed here were one of his specialities (Worsley, 2001, 39–40).

The King’s Entertainment at Welbeck combines state occasion and private entertainment and these different agendas can be seen throughout the text. Similarly, Cavendish’s hospitality on this occasion served multiple functions. It cemented his relations with the county, many of whose residents were present, and was intended to impress the King with his local status, justifying his Lord Lieutenancy (his establishment of an ‘exact’ militia in line with royal policy is mentioned at 167–70). It was also designed to promote Cavendish’s claim to further office, such as the governorship of Prince Charles, which he gained in 1638. Indeed, Welbeck consciously echoes The Entertainment at Kenilworth (1575), another Midlands occasion that had presented its host, Elizabeth I’s favourite, the Earl of Leicester, as a great magnate.

Welbeck was not a great new house in the Jacobean courtier style; rather, its hybrid form combined abbey remains, the Robert Smythson-designed state wing, and the neo-chivalric porch, all surrounded by the riding house and stables and the great gardens, with canals and pavilions, perhaps built in imitation of the Pratolino or Fontainbleau. It was described by Richard Flecknoe as the ‘best of ancient and of modern mixed’ (Flecknoe, 1994, 176). Cavendish aspired to a similar status to that of Leicester, and the combination of localism and internationalism may also be designed to recall Elizabeth’s favourite (Adamson, 1994, 181). Certainly, Cavendish cultivated an image of himself as critically distant from the court and its styles (Cust, 1987, 197–8).

The self-conscious localism of the text emerges in the allusions to Cavendish’s wardenship of Sherwood Forest, and the marriage of Pem and Stub, representing the two shires (Nottinghamshire and Derbyshire) under Cavendish’s control. Welbeck abounds with references to both local and popular culture, including the wonders of the Peak, Sherwood Forest, Robin Hood, Derby ale, and the lead miners, while many of the popular elements, such as the dances to the bagpipe and the quintain, have Derbyshire connections. The most convincing critical discussions of this text connect this localism to Charles I’s encouragement of popular traditions against the strictures of stricter Protestantism, noting how the ‘carnivalesque is both aired and repudiated’ (Marcus, 1986, 129), and the intervention of the Gentleman (264) and his rejection of rustic ‘rudeness’ can be paralleled to the expulsion of the Irish in The Irish Masque. Welbeck, however, reinflects this royal policy, becoming more than just a ‘courtly negotiation’ in the country (Brown, 1994, 147), and offers, instead, a key role for local governors and cultures. Thus the Gentleman’s speech, with its sacralized sense of kingly duty and discipline, which adumbrates the high duties of kingship (and esp. 292–4n.), crucially originates from within the Cavendish household and from the localities. This speech places the Cavendishes and other local governors in a key position, mediating between and disciplining popular culture, while also manifesting their own understanding of the locality and their difference from the style of the court (Knowles, 2007a). It is a view that Cavendish himself echoed in The Variety (c. 1641), which praises the ‘honest days’ of the past ‘when knights were gentlemen’, in which ‘men of honour flourished’, and in which the St George and the garter ceremonies symbolized martial English manliness. These ideals contrast with the court’s mannequins created by the slavish following of continental fashions and the foppish French dancing master Galliard (Cavendish, 1649, 39, 41, 36). The Englishness invoked here is very much that of the ‘country’ (locality), as Cavendish terms it (Cavendish, 1649, 41).

Although the quintain and the rustics are comic, their treatment also allows for the independence and validity of local traditions and the ‘antiquity’ (109) of the forest, and there may be some conscious echoing of Camden’s search for local cultures in the use of regional legends and landscapes. In fact, Welbeck’s use of local traditions and cultures marks a conscious recycling of material deployed earlier in The Gypsies Metamorphosed, such as the legends of the Peak, and there may be an implicit contrast between the failure of Buckingham’s claims to be the local magnate, especially in the Burley text, and the new example of Cavendish with his Elizabethan and chivalric antecedents. At a stylistic level, a similar revaluation also occurs, as Jonson uses material he had scorned earlier in his career, such as chivalric romances (notably Spenser and Malory) and ballads (such as the Robin Hood ballads avidly collected by his patron Cavendish). Interestingly, too, in F2 Welbeck is placed at the end of The Underwood as a companion piece to The King and Queen’s Entertainment at Bolsover rather than with the other masques. This symbolic relocation within a royal demesne (the underwood) suggests the elevated status attached to the piece, more as poem than occasional entertainment, but also shows how advice offered from the heart of a real royal forest has been absorbed into a different kind of royal enclosure.

Welbeck survives in two witnesses, the Newcastle manuscript (JnB 676) and F2. Important differences exist between the manuscript and printed text, and neither presents an entirely clear version of the action of the entertainment. Significantly, the F2 version is more deferential, and its multiplicity of small verbal substitutions (for instance, the tense change at and the small changes at 209, 224–9, 231), typify the tinkering associated with authorial alteration. The deference of F2 and the movement away from the sterner advice proffered in private in Nottinghamshire in 1633 suggests an awareness of the changed circumstances at the time of printing in 1640. Our text is based on the manuscript.

THE KING’S ENTERTAINMENT AT WELBECK

His Majesty being set at dinner, a song was sung, a dialogue between the Passions, DOUBT

and LOVE [, accompanied by the Chorus of Affections, JOY, DELIGHT, and JOLLITY].

DOUBT

What softer sounds are these salute the ear

From the large circle of the hemisphere,

As if the centre of all sweets met here? 5

LOVE

It is the breath and soul of everything,

Put forth by earth, by nature, and the spring,

To speak the ‘Welcome, welcome’ of the King.

JOY

The joy of plants,

DELIGHT

The spirit of flowers,

JOLLITY

The smell and verdure of the bowers, 10

The waters’ murmur,

DELIGHT

With the showers

Distilling on the new-fresh hours;

JOLLITY

The whistling winds and birds, that sing

The ‘Welcome’ of our great, good King.

ALL

‘Welcome, O welcome’ is the general voice, 15

Wherein all creatures practice to rejoice.

The second strain

LOVE

When was old Sherwood’s head so quaintly curled,

Or looked the earth more green upon the world,

Or Nature’s cradle more enchased and purled? 20

When did the air so smile, the winds so chime,

As choristers of season and the prime?

DOUBT

If what they do be done in their due time.

CHORUS

He makes the time for whom ’tis done,

From whom the warmth, heat, life begun, 25

Into whose fost’ring arms do run

All that have being from the sun.

Such is the fount of light, the King,

The heart that quickens everything

And makes the creatures’ language all one voice, 30

In ‘Welcome, welcome, welcome’, to rejoice:

‘Welcome’ is all our song, is all our sound,

The treble part, the tenor, and the ground.

After dinner.

The King, the lords, and courtiers being come down and ready to take horse , in the crowd were 35

discovered two notorious persons and men of business, as by their eminent dressing and habits

did soon appear. One in a costly cassock of black buckram girt unto him, whereon was painted

party per pale.

On the one side:			On the other:
Noun Pronoun Verb Participle	}	declined	Adverb 40 Conjunction Preposition Interjection	}	undeclined

With his hat, stockings, and sandals suited and marked with ‘ A. B. C.’

The other was in a tabard or herald’s coat of azure and gules quarterly changed of buckram, 45

lined with yellow instead of gold , and pasted over with records of the two shires and certain

fragments of the forest as a coat of antiquity and precedent , willing to be seen but hard to be

read, and as loath to be understood without the interpreter who wore it; which records were

pasted on with the wrong way upward and this label annexed:

‘To the Curious Pryer. 50

Look not so near with hope to understand,

Outcept you can read with the left hand .’

The persons’ names were A.B.C. ACCIDENCE [and] HUMPHREY FITZALE.

ACCIDENCE

By your fair leave, gentlemen of court – for leave is ever fair being

asked, and granted is as light, according to our English proverb, ‘Leave is 55

light’ – which is the King, I pray you?

FITZALE

Or rather the King’s lieutenant? For we have nothing to say to the King

till we have spoken with my Lord Lieutenant.

ACCIDENCE

Of Nottinghamshire.

FITZALE

And Derbyshire, for he is both, and we have business to both sides of 60

him from either of the counties.

ACCIDENCE

As far as his command stretches.

FITZALE

Is this he?

ACCIDENCE

This is no great man by his timber, as we say in the forest; by his

thews he may. I’ll venture a part of speech, two, or three at him to see how he 65

is declined. My Lord, pleaseth it your good lordship, I am a poor neighbour

here of your honour’s i’the county.

FITZALE

Master A.B.C. Accidence, schoolmaster of Mansfield, the painful instructor

of our youth in their country elements, as appeareth by the sign of correction

in his hat, with the trust of the town pen-and-inkhorn committed to 70

the surety of his girdle from the whole corporation.

ACCIDENCE

This is the more remarkable man, my lord, Humphrey Fitzale,

Herald of Derby, light and lantern of both counties, the learned antiquary

o’the North, conserver of the records of either forest, as witnesseth the brief

tabard or coat armour he carries, being an industrious collection of all the 75

written, or reported, wonders of the Peak.

Saint Anne of Buxton’s boiling well,

Or Elden, bottomless like hell,

Poole’s Hole, or Satan’s sumptuous arse,

Sir-reverence, with the mine-men’s farce. 80

Such a light and metalled dance

Saw you never yet in France!

And by leadmen for the nones,

That turn round like grindlestones

Which they dig out fro’ the delves, 85

For their bairns’ bread, wives, and selves,

Whom the whetstone sharps to eat,

And cry, ‘Millstones are good meat!’

He can fly o’er hills and dales,

And report you more odd tales, 90

Of our outlaw Robin Hood

That revelled here in Sherwood,

And more stories of him show,

Though he ne’er shot in his bow,

Than au’ men would believe or know. 95

FITZALE

Stint, stint your court,

Grow to be short,

Throw by your clatter,

And handle the matter:

We come with our peers — 100

ACCIDENCE

And crave your ears

To present a wedding

Intended a bedding,

Of both the shires.

Father Fitzale 105

Hath a daughter stale

In Derby town,

Known up and down

For a great antiquity,

And Pem she hight, 110

A solemn wight

As you should meet

In any street

In that ubiquity.

Her he hath brought 115

As having sought

By many a draught

Of ale and craft,

With skill to graft

In some old stock 120

O’the yeoman block

And forest blood

Of old Sherwood.

And he hath found

Within the ground, 125

At last no shrimp

Whereon to imp

His jolly club,

But a bold Stub

O’the right wood – 130

FITZALE

A champion good,

Who here in place

Presents himself,

Like doughty elf,

Of greenwood chase. 135

[Enter] STUB, the bridegroom, in a yellow canvas doublet, cut, a green jerkin and hose like

a ranger, a Monmouth cap, with a yellow feather, yellow stockings, and shoes, for being to

dance he would not trouble himself with boots.

FITZALE

Stub of Stub Hall

Some do him call, 140

But most do say

He’s Stub will stay

To run his race,

Not run away.

ACCIDENCE

At quintain he, 145

In honour of this bridalty,

Hath challenged either wide county,

Come cut and long tail; for there be

Six bachelors, as bold as he,

Adjuting to his company, 150

And each one hath a livery.

FITZALE

Six hoods they are, and of the blood,

They tell, of ancient Robin Hood.

[Enter the] SIX HOODS each in his livery.

Red Hood the first that doth appear 1. Red Hood. 155

In stammel.

ACCIDENCE

Scarlet is too dear.

FITZALE

Then Green Hood. 2. Green Hood.

ACCIDENCE

He’s in Kendal Green,

As in the forest livery seen.

FITZALE

Next Blue Hood is, and in that hue 3. Blue Hood.

Doth vaunt a heart as pure and true 160

As is the sky — give him his due.

ACCIDENCE

Of old England the yeoman blue.

FITZALE

Then Tawny Hood fro’ the kirk that came. 4. Tawny Hood.

ACCIDENCE

And clepèd was the abbot’s man.

FITZALE

With Motley Hood, the man of law. 5. Motley Hood. 165

ACCIDENCE

And Russet Hood keeps all in awe. 6. Russet Hood.

Bold bachelors they are, and large,

And come in at the country charge,

Horse, bridles, saddles, stirrups, girts,

All reckoned o’the county skirts! 170

And all their courses, miss or hit,

Intended are for the shire-wit,

And so to be received. Their game

Is country sport and hath a name

From the place that bears the cost, 175

Else all the fat i’the fire were lost.

Go, Captain Stub, lead on, and show

What house you come on, by the blow

You give Sir Quintain and the cuff

You ’scape o’th’ sandbag’s counterbuff. 180

Trumpet

sounds.

Stub’s course.

ACCIDENCE

Oh, well run, Yeoman Stub!

He has knocked it like a club,

And made Sir Quintain know

By this his race so good 185

He himself is also wood,

As by his furious blow.

Sound. Red Hood’s course.

FITZALE

Bravely run, Red Hood,

There was a shock, 190

To have buffed out the blood

From aught but a block!

Sound. Green Hood’s course.

ACCIDENCE

Well run, Green Hood, got between,

Under the sandbag he was seen, 195

Louting low, like a for’ster green —

FITZALE

He knows his tackle and his treene.

Sound. Blue Hood’s course.

ACCIDENCE

Gi’ the old England yeoman his due,

He’s hit Sir Quin’ just i’the ‘Q’. 200

Though that be black, yet he is blue.

It is a brave patch, and a new!

Sound. Tawny Hood’s course.

FITZALE

Well run, Tawny, the abbot’s churl!

His jade gave him a jerk, 205

As he would have his rider hurl

His hood after the kirk,

But he is wiser and well beheft,

For this is all that he hath left.

Sound. Motley Hood’s course. 210

FITZALE

Or the saddle turned round, or the girth’s brake,

For low on the ground (woe for his sake)

The law is found.

ACCIDENCE

Had his pair of tongues not so much good,

To keep his head in his motley hood? 215

Sound. Russet Hood’s course.

ACCIDENCE

Russet ran fast, though he be thrown,

FITZALE

He lost no stirrup, for he had none.

FIRST [SPEAKER]

His horse, it is the herald’s weft.

SECOND [SPEAKER]

No ’tis a mare —

THIRD [SPEAKER]

And hath a cleft. 220

FOURTH [SPEAKER]

She is country-borrowed, and no vail,

But’s hood is forfeit to Fitzale.

Here ACCIDENCE breaks them off by calling them to the dance.

[Enter PEM FITZALE,] the bride, like an old May Lady with scarves, and a great wrought

handkerchief, with red and blue, and other habiliments; six MAIDS with buckram bride-laces 225

begilt, white sleeves and stammel petticoats dressed after the cleanliest country guise,

among whom MISTRESS ALPHABET, Master Accidence’s daughter, bears a prime sway;

the two bride-squires, CAKE-BEARER and CUP-BEARER, in two yellow leather doublets

and russet hose, like two twin clowns pressed out for that service with livery hats and ribbons.

ACCIDENCE

Come to the bride! Another fit, 230

Yet show o’your country wit,

But o’your best. Let all the steel

Of back and brains fall to the heel,

And all the quicksilver i’the mine

Run i’the foot-veins and refine 235

Your firk’em-jerk’em to a dance

Shall fetch the fiddles out of France,

To wonder at the hornpipes here,

Of Nottingham and Derbyshire!

FITZALE

With the fant’sies of ‘Hey-troll’, 240

Troll about the bride-ale bowl,

And divide the broad bridecake

Round about the bridestake.

ACCIDENCE

With, here is to the fruit of Pem,

FITZALE

Grafted upon Stub his stem, 245

ACCIDENCE

With the Peakish nicety,

FITZALE

And old Sherwood’s vicety.

The last of which words were set to a tune, and sung to the bagpipe and measure of their

dance, the clowns and company of spectators drinking and eating the while.

The Song.

250

Let’s sing about, and say Hey-troll!

Troll to me the bride-ale bowl,

And divide the broad bridecake,

Round about the bridestake.

With, here is to the fruit of Pem, 255

Grafted upon Stub his stem,

With the Peakish nicety,

And old Sherwood’s vicety.

But well danced, Pem, upon record,

Above thy yeoman, and May-lord. 260

Here it was thought necessary they should be broken off by the coming in of an officer or

servant of the Lord Lieutenant’s, whose face had put on, with his clothes, an equal authority

for the business.

GENTLEMAN

Give end unto your rudeness; know at length

Whose time and patience you have urged – the King’s! 265

Whom if you knew, and truly as you ought,

’Twould strike a reverence in you even to blushing.

That King, whose love it is to be your parent,

Whose office and whose charge to be your pastor,

Whose single watch defendeth all your sleeps, 270

Whose labours are your rests, whose thoughts and cares

Breed your delights, whose business, all your leisures!

And you to interrupt his serious hours

With light, impertinent, unworthy objects,

Sights for yourselves and sav’ring your own tastes, 275

You are to blame! Know your disease, and cure it.

Sports must not be obtruded on great monarchs,

But wait when they will call for them as servants,

And meanest of their servants, since their price is,

At highest, to be styled but of their pleasures. 280

Our King is going now to a great work

Of highest love, affection, and example,

To see his native country and his cradle,

And find those manners there which he sucked in

With nurse’s milk and parents’ piety. 285

O Sister Scotland! What hast thou deserved

Of joyful England, giving us this king?

What union, if thou lik’st, hast thou not made

In knitting for Great Britain such a garland,

And letting him to wear it? Such a king 290

As men would wish, that know not how to hope

His like but seeing him. A prince that’s law

Unto himself; is good, for goodness’ sake,

And so becomes a rule unto his subjects;

That studies not to seem or to show great, 295

But be! Not dressed for others’ eyes and ears

With vizors and false rumours, but makes Fame

Wait on his actions, and thence speak his name!

Oh, bless his goings out and comings in,

Thou mighty God of heaven! Lend him long 300

Unto the nations, which yet scarcely know him

Yet are most happy by his government!

Bless his fair bed-mate and their certain pledges,

And never may he want those strings in Fate,

For sure succession fortifies a state! 305

Whilst he himself is mortal, let him feel

Nothing about him mortal in his house;

Let him approve his young increasing Charles

A loyal son, and take him long to be

An aid before he be a successor! 310

Late come that day that heaven will ask him from us!

Let our grandchildren and their issue long

Expect it and not see it! Let us pray

That Fortune never know to exercise

More power upon him than as Charles his servant, 315

And his Great Britain’s slave, ever to wait

Bondwoman to the Genius of this state!

The Cambridge Edition of the Works of Ben Jonson

The King’s Entertainment at Welbeck (1633)

Edited by James Knowles

INTRODUCTION

THE KING’S ENTERTAINMENT AT WELBECK