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A58022
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A short view of tragedy it's original, excellency and corruption : with some reflections on Shakespear and other practitioners for the stage / by Mr. Rymer ...
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Rymer, Thomas, 1641-1713.
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1693
(1693)
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Wing R2429; ESTC R17017
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76,381
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200
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d'autre amour non janziray s'yeu nen jau dest ' amour de luench q'una plus bella non en sa en luec que sia ny pres ny luench Sad and heavy should I part but for this Love so far away not knowing what my ways may thwart my Native Land so far away Thou that of all things Maker art and form'st this Love so far away give body's strength then shan't I start from seeing her so far away How true a Love to pure desert my Love to her so far away eas'd once a thousand times I smart whilst ah she is so far away None other Love none other Dart I feel but hers so far away but fairer never touch'd aâ—… heart than hers that is so far away CHAP. VII Savery de Mauleon a Provencial Poet. Testimony of him King R. I. His Verses when Prisoner in Austria The Emperor Frederick Barbarossa His Poetry Ramond Beringhier Four Daughters four Queens Rob. Grosthead His Provencial Poetry Other Languages stubborn Chaucer refin'd our English Which in perfection by Waller His Poem on the Navy Royal beyond all Modern Poetry in any Language Besore him our Poets better expressed their thoughts in Latin Whence Hoveden might mistake and his Malice A Translation from Grosthead The Harp a Musick then in fashion Five Tragedies from Joan Queen of Naples Forreigners all call'd French Plays by the Parish-Clerks of London What under H. VIII flourish under Queen Elizabâ—…th The Gorboduck French much behind-hand with us Tragedy with us but a shadow SAvery de Mauleon mentioned in our English Histories is reckoned another of these Provencial Poets of him an old Bard amongst them gave this Testimony Dousfament fait motz sos ab amor que ' m' a vencut Sweetly could he say and sing of Love that me hath vanquished And the same Author says of King Richard Coblas a teira faire adroitement pou vos oillez enten dompna gentilz Stanza's he trimlâ—… could invent upon the Eyes of Lady gent. One Stanza of a Song made by him when a Prisoner in Austria may serve for a taste Or â—…achan ben mos homs e mos Barons Anglez Normans Peytavins e Gascons qu'yeu non ay ja si paure Compagnon que per aver lou laissess en preson Know ye my Men my Barons all In England and in Normandy In Poicters and in Gascony I no Companion held so small To let him thus in durance lie Our King Richard had not the Expedient of the French King St. Lewis who taken Prisoner by the Sarazens pawn'd the Eucharist body for body to the Insidels for his Ransom Signior Redi now with the great Duke of Tuscany tells us the Mss. with King Richard's Poetry and many other of the Pâ—…ovencial Poets are in his keeping This of the Emperor Frederick I. is currant every where Plas my Cavallier Francez e la donna Catallana e l'ourar Gynoez e la Cour de Kastellana lou Kantar Provensales e la dansa Trivyzana e la corps Arrogonez e la perla Julliana les mans e Kara d'Angles e lou donzel de Thusâ—…ana I like in France the Chivalry The Catalonian Lass for me The Genoes for working well But for a Court commend Castile For Song no Countrey to Provance And Treves must carry 't for a dance The finest shapes in Arragon In Juliers they speak in Tune The English â—…or an hand and face â—…or Boys troth Tuscany's the place They who have written the lives of the Provencial Poets with King Richard and the Emperor Frederick Barbarossa give us also the life of Ramond Count of Provence memorable for his four Daughters married to so many Kings Margaret to Lewis King of France Elionor to our H. III. Sance to Richard King of the Romans Beatrice to Charles King of Naples and Sicily On this occasion thus Dante Quattro figlie hebbe Ciascuna reina Ramondo Beringhieri Four lovely Daughters each of them a Queen Had Ramond Beringher Neither were the Churchmen all of the same Kidney with the Monks as may be gather'd from the famous Bishop of Lincoln Rob. Grosthead the most eminent in his time for Piety and Learning and the Man of greatest Authority who when living made the old Gentleman in St. Peters Chair tremble and the bare Ghost of him afterwards so thumpt off the Pope that he died of the contusion He compos'd several treatises in this Provencial Ryme and Language One of them in Bodleys Library bears this title Tractatus in lingua Romana secundum Dom. Rob. Grosseteste Lincoln Ep. de Principio Creationis Mundi The beginning is this Ki pense ben ben peut dire Sanz penser ne poet sofsire De nul bon oure Comencer Deu nos doint de li penser De ki par ki en ki sont Toz les bens ki font el mond He that thinks well well can say Without thinking nought he may Not a good work once begin God wou'd have us think of him From whom by whom in whom are all The good things which the World we call This Provencial was the first of the modern languages that yielded and chim'd in with the musick and sweetness of ryme which making its way by Savoy to Monserat The Italians thence began to file their volgare And to set their verses all after the Chimes of Provence Our Intermarriages and our Dominions thereabouts brought us much sooner acquainted with their Tongue and Poetry And they witâ—… us that would write verse as King Richard Savery de Mauleon and Rob. Grostead finding the English stubborn and unweildy fell readily to that of Proveâ—…ce as more glib and lighter on the Tongue But they who attempted verse in English down till Chaucers time made an heavy pudder and are always miserably put to 't for a word to clink which commonly fall so awkard and unexpectedly as dropping from the Clouds by some Machiâ—…e or Miracle Chaucer found an Herculean labour on his Hands And did perform to Admiration He seizes all Provencal French or Latin that came in his way gives them a new garb and livery and mingles them amongst our English turns out English gowty or superannuated to place in their room the foreigners fit for service train'd and accustomed to Poetical Discipline But tho' the Italian reformation was begun and finished well nigh at the same time by Boccâ—…ce Danâ—…e and Petrarch Our language retain'd something of the churl something of the Stiff and Gothish did stick upon it till long after Chaucer Chaucer threw in Latin French Provenciâ—…l and other Languages like new Stum to raise a Fermentation In Queen Elizabeth's time it grew fine but came not to an Head and Spirit did not shine and sparkle till Mr. Waller set it a running And one may observe by his Poem on the Navy An. 1632. that Noâ—… the language only but His Poetry then distinguish'd him from all his contemporaries both in England and in other Nations And from all before him
so right to their humour they over-ran all nothing wise or sober might stand in their way All were possessed with the Spirit of Burlesk from Doll in the Dairy to the Matrons at Court and Maids of Honour Nay so far went the Frenzy that no Bookseller wou'd meddle on any terms without Burlesk insomuch that Ann. 1649. was at Paris printed a serious Treatise with this Titâ—…e La Passim de Nâ—…tre Seignâ—…ur En vers 〈◊〉 If we cannot rise to the Persection of intreigue in Sophocles let us sit down with the honesty and simplicity of the first beginners in Tragedy As for example One of the most simple now extant is the Pâ—…rsians by Aâ—…schylus Somâ—… ten years after that Darius had been beaten by the Greeks 〈◊〉 his Father Darius being dead brought against thâ—…m such Forces by Sea and Land the like never known in History Xerxes went also in person with all the Maison de Roy Satrapie and Gendarmery all were routed Some forty years afterwards the Poet takes hence his subject for a Tragedy The Place is by Darius's Tomb in the Metropolis of Persia. The Time is the Night an hour or two before day break First on the Stage are seen 15 Persons in Robes proper for the Satrapa or Chief Princes in Persia Suppose they met so early at the Tomb then sacred and ordinarily resorted to by people troubled in mind on the accounts of Dreams or any thing not boding good They talk of the state of Affairs Of Greece and of the Expedition After some time take upon them to be the Chorus The next on the Stage comes Atossa the Queen Mother of Persia she cou'd not lie in Bed for a Dream that troubled her so in a fit of Devotion comes to her Husband's Tomb there luckily mâ—…ets with so many Wise-men and Counsâ—…llors to eas her Mind by interpreting her Dream This with the Chorus makes the Second Act. Aâ—…r this their Disorder Lamentation and 〈◊〉 is such that Darius is disturbed in his 〈◊〉 sâ—… his Ghâ—…st appears and belike stays with tâ—…m till Day break Then the Chorus concludes the Act. In the Fourth Act come the Messengers with sad Tidings which with the reflections and troubles thereupon and the Chorus fill out this Act. In the Last Xerxes himself arrives which gives occasion of condoling houling and distraction enough to the end of the Tragedy One may imagine how a Grecian Audience that lov'd their Countrey and glory'd in the Vertue of their Ancestors wou'd be affected with this Representation Never appeared on the Stage a Ghost of greater consequence The Grand Monarch Darius who had been so shamefully beaten by those petâ—…y Provinces of the United Grecians could not now lye quiet in his Grave for them but must be raised from the dead again to be witness of his Son's Disgrace and of their Triumph Were a Tragedy after this Model to be drawn for our Stage Greece and Persia are too far from us The Scene must be laid nearer home As at the Louvre and instead of Xerxes we might take John King of Francc and the Battel of Poictiers So if the Germans or Spaniards were to compose a Play on the Batâ—…el of Pavia and King Francis there taken Prisoner the Scene shou'd not be laid at Vienna or at Madrid but at the Louvre For there the Tragedy wou'd principally operate and there all the Lines most naturally centre But perhaps the memorable Adventure of the Spaniards in 88. against England may better resemble that of Xerxes Suppose then a Tragedy call'd The Invinâ—…ible Armâ—…do The Place then for the Aâ—…tion may be at Madrid by some Tomb or sâ—…lemn place of resort or if we prefer a â—…rn in it fâ—…om good to bad Fortune then some Drawing-Room in the Palace near the King's Bed-chamber The Time to begin Twelve at Night The Scâ—…ne opening presents 15 Grandees of Spain with their most solâ—…mn Beards and Accoâ—…trements met there suppose after some Ball or other publick occasiâ—…n They talk of the state of Affairs the greatness of their Power the vastness of their Dominions and prospect to be infallibly ere long Lords of all With this prosperity and goodly thoughts transported they at last form themselves into the Chorus and walk such measures â—…ith Musick as may become the gravity of such a Chorus Then enter two or three of the Cabinet Councel who now have leave to tell the Secret That the Preparations and the Invincible Armade was to conquer England These with part of the Chorus may communicate all the Particulars the Provisions and the Strength by Sea and Land the certainty of success the Advantages by that accession and the many Tun of Tar Barrels for the Hâ—…reticks These Topicks may afford matter enough with the Chorus for the Second Act. In the Third Act these Gentlâ—…men of the Cabinet cannot agree about sharing the Preferments of England and a mighty broil thâ—…re is amongst them One will not be content unless hâ—… is King of Man another will bâ—… Duke of Lancaster One that had seen a Coronation in England will by all means be Duke of Aquitayn or else Duke of Normandy And on this occasion two Competitors have a juster occasion to woâ—…k up and shew the Muscles of their Passion then Shakespear's Cassius and Brutus After the Chorus The Fourth Act may instâ—…ad of Atossa present some old Dames of the Court us'd to dream Dreams and to sâ—…e Sprights in their Night-Rails and Forhead Cloaths to alarm our Gentlemen with new apprehensions which make distraction and disorders sufficient to furnish out this Act. In the last Act the King enters and wisely discourses against Dreams and Hobgoblins to quiet their minds And â—…he more to satisfie them and take off their fright he lets them to know that St. Loyala had appeared to him and assured him that all is well This said comes a Messenger of the ill News his Account is lame suspected he sent to Prison A second Messenger that came away long after but had a speâ—…dier Passage his account is distinct and all their loss credâ—…ted So in fine one of the Chorus concludes with that of Euripides Thus you see the Gods bring things to pass often otherwise than was by man proposed In this â—…raught we see the Fable and the Characters or Manners of Spaniards and room â—…or 〈◊〉 Thoughts and noble Expressions as much as the Poet can afford The First Act gives a Review or Ostentation of their Strength in Battel-array In the Second they are in motion for the Aâ—…tack and we see where the Action falls In the Third they quarrel about dividing the Spoil In the Fourth They meet with a Repulse are beaten off by a Van-Guard of Dreams Goblins and Terrors of the Night In the Fifth They rally under their King in Person and make good their Ground till overpowered by fresh Troops of Conviction and mighty Truth prevails For the First Act a Painter would draw Spain hovering and ready to