Part 4

[xii-1] Through the kindness of Professor Baker I have seen an unpublished paper of Mr. P. C. Hoyt, Instructor in Harvard University, which first calls attention to the combined suggestiveness of three entries in _Henslowe's Diary_ (Collier's ed.) for any discussion of the date of _Bussy D'Ambois_. In Henslowe's "Enventorey of all the aparell of the Lord Admirals men, taken the 13th of Marcher 1598," is an item, "Perowes sewt, which Wm Sley were." (_Henslowe's Diary_, ed. Collier, p. 275.) In no extant play save _Bussy D'Ambois_ is a character called Pero introduced. Moreover, Henslowe (pp. 113 and 110) has the following entries: "Lent unto Wm Borne, the 19 of novembr 1598 . . . the some of xijs, wch he sayd yt was to Imbrader his hatte for the Gwisse. Lent Wm Birde, ales Borne, the 27 of novembr, to bye a payer of sylke stockens, to playe the Gwisse in xxs." Taken by themselves these two allusions to the "Gwisse" might refer, as Collier supposed, to Marlowe's _The Massacre at Paris_. But when combined with the mention of Pero earlier in the year, they may equally well refer to the Guise in _Bussy D'Ambois_. Can _Bussy D'Ambois_ have been the unnamed "tragedie" by Chapman, for the first three Acts of which Henslowe lent him iijli on Jan. 4, 1598, followed by a similar sum on Jan. 8th, "in fulle payment for his tragedie?" The words which Dekker quotes in _Satiromastix_, Sc 7 (1602), "For trusty D'Amboys now the deed is done," seem to be a line from a play introducing D'Ambois. If, however, the play was written circa 1598, it must have been considerably revised after the accession of James I to the throne, for the allusions to Elizabeth as an "old Queene" (1, 2, 12), and to Bussy as being mistaken for "a knight of the new edition," must have been written after the accession of James I (_Chronicle of the English Drama_, 1, 59). But Mr Fleay's further statement that the words, "Tis leape yeere" (1, 2, 85), "must apply to the date of production," and "fix the time of representation to 1604," is only an ingenious conjecture. If the words "Ile be your ghost to haunt you," etc (1, 2, 243-244), refer to _Macbeth_, as I have suggested in the note on the passage, they point to a revision of the play not earlier than the latter part of 1606.

[xxxvii-1] "Hence a deadly feud arose between the kin of Bussy and Montsurry. The task of carrying this into action was undertaken by Jean Montluc Baligny, who had married the murdered man's sister, a high-spirited woman who fanned the flame of her husband's wrath. With difficulty, after a period of nine years, was an arrangement come to between him and Montsurry on specified terms by the order of the King."

[xxxvii-2] "Renée, his sister, a high-souled woman, and of aspirations loftier than those of her sex, brooked it very ill that this injury, of which his brother and nearest kin took no heed, should remain unavenged. When, therefore, Baligny profferred himself as an avenger, she agreed to marry him, in defiance of the admonitions of her family."

THE TEXT

_Bussy D'Ambois_ was first printed in quarto in 1607 by W. Aspley, and was reissued in 1608. In 1641, seven years after Chapman's death, Robert Lunne published another edition in quarto of the play, which, according to the title-page, was "much corrected and amended by the Author before his death." This quarto differs essentially from its predecessors. It omits and adds numerous passages, and makes constant minor changes in the text. The revised version is not appreciably superior to the original draft, but, on the evidence of the title-page, it must be accepted as authoritative. It was reissued by Lunne, with a different imprint, in 1646, and by J. Kirton, with a new title-page, in 1657. Copies of the 1641 quarto differ in unimportant details such as _articular_, _articulat_, for evidently some errors were corrected as the edition passed through the press. Some copies of the 1646 quarto duplicate the uncorrected copies of the 1641 quarto.

In a reprint of Chapman's Tragedies and Comedies, published by J. Pearson in 1873, the anonymous editor purported to "follow mainly" the text of 1641, but collation with the originals shows that he transcribed that of 1607, substituting the later version where the two quartos differed, but retaining elsewhere the spelling of the earlier one. Nor is his list of variants complete. There have been also three editions of the play in modernized spelling by C. W. Dilke in 1814, R. H. Shepherd in 1874, and W. L. Phelps in 1895, particulars of which are given in the Bibliography. The present edition is therefore the first to reproduce the authoritative text unimpaired. The original spelling has been retained, though capitalization has been modernized, and the use of italics for personal names has not been preserved. But the chaotic punctuation has been throughout revised, though, except to remove ambiguity, I have not interfered with one distinctive feature, an exceptionally frequent use of brackets. In a few cases of doubtful interpretation, the old punctuation has been given in the footnotes.

Dilke, though the earliest of the annotators, contributed most to the elucidation of allusions and obsolete phrases. While seeking to supplement his and his successors' labours in this direction, I have also attempted a more perilous task--the interpretation of passages where the difficulty arises from the peculiar texture of Chapman's thought and style. Such a critical venture seems a necessary preliminary if we are ever to sift truth from falsehood in Dryden's indictment--indolently accepted by many critics as conclusive--of _Bussy D'Ambois_.

The group of quartos of 1641, 1646, and 1657, containing Chapman's revised text, is denoted by the symbol "B"; those of 1607 and 1608 by "A." In the footnotes all the variants contained in A are given except in a few cases where the reading of A has been adopted in the text and that of B recorded as a variant. I have preferred the reading of A to B, when it gives an obviously better sense, or is metrically superior. I have also included in the Text fifty lines at the beginning of Act II, Scene 2, which are found only in A. Some slight conjectural emendations have been attempted which are distinguished by "emend. ed." in the footnotes. In these cases the reading of the quartos, if unanimous, is denoted by "Qq."

In the quartos the play is simply divided into five Acts. These I have subdivided into Scenes, within which the lines have been numbered to facilitate reference. The stage directions in B are numerous and precise, and I have made only a few additions, which are enclosed in brackets. The quartos vary between _Bussy_ and _D'Ambois_, and between _Behemoth_ and _Spiritus_, as a prefix to speeches. I have kept to the former throughout in either case.

F. S. B.

Bussy D'Ambois:

A TRAGEDIE:

As it hath been often Acted with great Applause.

_Being much corrected and amended by the Author before his death._

[Illustration]

_LONDON:_ Printed by _A. N._ for _Robert Lunne_. 1641.

SOURCES

The immediate source of the play has not been identified, but in the _Introduction_ attention has been drawn to passages in the writings of Bussy's contemporaries, especially Brantôme and Marguerite de Valois, which narrate episodes similar to those in the earlier Acts. Extracts from De Thou's _Historiae sui temporis_ and Rosset's _Histoires Tragiques_, which tell the tale of Bussy's amorous intrigue and his assassination, have also been reprinted as an Appendix. But both these narratives are later than the play. Seneca's representation in the _Hercules Oetaeus_ of the Greek hero's destruction by treachery gave Chapman suggestions for his treatment of the final episode in Bussy's career (cf. V, 4, 100-108, and note).

PROLOGUE

_Not out of confidence that none but wee Are able to present this tragedie, Nor out of envie at the grace of late It did receive, nor yet to derogate From their deserts, who give out boldly that 5 They move with equall feet on the same flat; Neither for all, nor any of such ends, We offer it, gracious and noble friends, To your review; wee, farre from emulation, And (charitably judge) from imitation, 10 With this work entertaine you, a peece knowne, And still beleev'd, in Court to be our owne. To quit our claime, doubting our right or merit, Would argue in us poverty of spirit Which we must not subscribe to: Field is gone, 15 Whose action first did give it name, and one Who came the neerest to him, is denide By his gray beard to shew the height and pride Of D'Ambois youth and braverie; yet to hold Our title still a foot, and not grow cold 20 By giving it o're, a third man with his best Of care and paines defends our interest; As Richard he was lik'd, nor doe wee feare, In personating D'Ambois, hee'le appeare To faint, or goe lesse, so your free consent, 25 As heretofore, give him encouragement._

LINENOTES:

_Prologue._ The Prologue does not appear in A.

10 (_charitably judge_). So punctuated by ed. B has:--

_To your review, we farre from emulation (And charitably judge from imitation) With this work entertaine you, a peece knowne And still beleev'd in Court to be our owne, To quit our claime, doubting our right or merit, Would argue in us poverty of spirit Which we must not subscribe to._

13 _doubting_. In some copies of B this is misprinted _oubting_.

[DRAMATIS PERSONÆ.[4:1]

HENRY III, King of France. MONSIEUR, his brother. THE DUKE OF GUISE. MONTSURRY, a Count. BUSSY D'AMBOIS. BARRISOR, } L'ANOU, } Courtiers: enemies of D'AMBOIS. PYRHOT, } BRISAC, } MELYNELL, } Courtiers: friends of D'AMBOIS. COMOLET, a Friar. MAFFE, steward to MONSIEUR. NUNCIUS. MURDERERS.

BEHEMOTH, } CARTOPHYLAX, } Spirits. UMBRA OF FRIAR.

ELENOR, Duchess of Guise. TAMYRA, Countess of Montsurry. BEAUPRE, niece to ELENOR. ANNABLE, maid to ELENOR. PERO, maid to TAMYRA. CHARLOTTE, maid to BEAUPRE. PYRA, a court lady. Courtiers, Ladies, Pages, Servants, Spirits, &c.

SCENE.--Paris[4:2]]

FOOTNOTES:

[4:1] The Quartos contain no list of _Dramatis Personæ_. One is however prefixed to D'Urfey's version (1691), with the names of the performers added. C. W. Dilke prefixed a somewhat imperfect one to his edition in vol. III of _Old English Plays_ (1814). W. L. Phelps, who did not know of Dilke's list, supplied a more correct one in his edition in the _Mermaid Series_ (1895). The subjoined list adds some fresh details, especially concerning the subordinate characters.

[4:2] Many episodes in Bussy D'Ambois's career, which took place in the Province of Anjou, are transferred in the play to Paris.

Bussy D'Ambois

A Tragedie

ACTUS PRIMI SCENA PRIMA.

[_A glade, near the Court._]

_Enter Bussy D'Ambois poore._

[_Bussy._] Fortune, not Reason, rules the state of things, Reward goes backwards, Honor on his head, Who is not poore is monstrous; only Need Gives forme and worth to every humane seed. As cedars beaten with continuall stormes, 5 So great men flourish; and doe imitate Unskilfull statuaries, who suppose (In forming a Colossus) if they make him Stroddle enough, stroot, and look bigg, and gape, Their work is goodly: so men meerely great 10 In their affected gravity of voice, Sowrnesse of countenance, manners cruelty, Authority, wealth, and all the spawne of Fortune, Think they beare all the Kingdomes worth before them; Yet differ not from those colossick statues, 15 Which, with heroique formes without o're-spread, Within are nought but morter, flint and lead. Man is a torch borne in the winde; a dreame But of a shadow, summ'd with all his substance; And as great seamen using all their wealth 20 And skills in Neptunes deepe invisible pathes, In tall ships richly built and ribd with brasse, To put a girdle round about the world, When they have done it (comming neere their haven) Are faine to give a warning peece, and call 25 A poore staid fisher-man, that never past His countries sight, to waft and guide them in: So when we wander furthest through the waves Of glassie Glory, and the gulfes of State, Topt with all titles, spreading all our reaches, 30 As if each private arme would sphere the earth, Wee must to vertue for her guide resort, Or wee shall shipwrack in our safest port. _Procumbit._

[_Enter_] _Monsieur with two Pages._

[_Monsieur._] There is no second place in numerous state That holds more than a cypher: in a King 35 All places are contain'd. His words and looks Are like the flashes and the bolts of Jove; His deeds inimitable, like the sea That shuts still as it opes, and leaves no tracts, Nor prints of president for meane mens facts: 40 There's but a thred betwixt me and a crowne; I would not wish it cut, unlesse by nature; Yet to prepare me for that possible fortune, 'Tis good to get resolved spirits about mee. I follow'd D'Ambois to this greene retreat; 45 A man of spirit beyond the reach of feare, Who (discontent with his neglected worth) Neglects the light, and loves obscure abodes; But hee is young and haughty, apt to take Fire at advancement, to beare state, and flourish; 50 In his rise therefore shall my bounties shine: None lothes the world so much, nor loves to scoffe it, But gold and grace will make him surfet of it. What, D'Ambois!--

_Buss._ He, sir.

_Mons._ Turn'd to earth, alive! Up man, the sunne shines on thee.

_Buss._ Let it shine: 55 I am no mote to play in't, as great men are.

_Mons._ Callest thou men great in state, motes in the sunne? They say so that would have thee freeze in shades, That (like the grosse Sicilian gurmundist) Empty their noses in the cates they love, 60 That none may eat but they. Do thou but bring Light to the banquet Fortune sets before thee And thou wilt loath leane darknesse like thy death. Who would beleeve thy mettall could let sloth Rust and consume it? If Themistocles 65 Had liv'd obscur'd thus in th'Athenian State, Xerxes had made both him and it his slaves. If brave Camillus had lurckt so in Rome, He had not five times beene Dictator there, Nor foure times triumpht. If Epaminondas 70 (Who liv'd twice twenty yeeres obscur'd in Thebs) Had liv'd so still, he had beene still unnam'd, And paid his country nor himselfe their right: But putting forth his strength he rescu'd both From imminent ruine; and, like burnisht steele, 75 After long use he shin'd; for as the light Not only serves to shew, but render us Mutually profitable, so our lives In acts exemplarie not only winne Our selves good names, but doe to others give 80 Matter for vertuous deeds, by which wee live.

_Buss._ What would you wish me?

_Mons._ Leave the troubled streames, And live where thrivers doe, at the well head.

_Buss._ At the well head? Alas! what should I doe With that enchanted glasse? See devils there? 85 Or (like a strumpet) learne to set my looks In an eternall brake, or practise jugling, To keep my face still fast, my heart still loose; Or beare (like dames schoolmistresses their riddles) Two tongues, and be good only for a shift; 90 Flatter great lords, to put them still in minde Why they were made lords; or please humorous ladies With a good carriage, tell them idle tales, To make their physick work; spend a man's life In sights and visitations, that will make 95 His eyes as hollow as his mistresse heart: To doe none good, but those that have no need; To gaine being forward, though you break for haste All the commandements ere you break your fast; But beleeve backwards, make your period 100 And creeds last article, "I beleeve in God": And (hearing villanies preacht) t'unfold their art, Learne to commit them? Tis a great mans part. Shall I learne this there?

_Mons._ No, thou needst not learne; Thou hast the theorie; now goe there and practise. 105

_Buss._ I, in a thrid-bare suit; when men come there, They must have high naps, and goe from thence bare: A man may drowne the parts of ten rich men In one poore suit; brave barks, and outward glosse Attract Court loves, be in parts ne're so grosse. 110

_Mons._ Thou shalt have glosse enough, and all things fit T'enchase in all shew thy long smothered spirit: Be rul'd by me then. The old Scythians Painted blinde Fortunes powerfull hands with wings, To shew her gifts come swift and suddenly, 115 Which if her favorite be not swift to take, He loses them for ever. Then be wise;

_Exit Mon[sieur] with Pages. Manet Buss[y]._

Stay but a while here, and I'le send to thee.

_Buss._ What will he send? some crowns? It is to sow them Upon my spirit, and make them spring a crowne 120 Worth millions of the seed crownes he will send. Like to disparking noble husbandmen, Hee'll put his plow into me, plow me up; But his unsweating thrift is policie, And learning-hating policie is ignorant 125 To fit his seed-land soyl; a smooth plain ground Will never nourish any politick seed. I am for honest actions, not for great: If I may bring up a new fashion, And rise in Court for vertue, speed his plow! 130 The King hath knowne me long as well as hee, Yet could my fortune never fit the length Of both their understandings till this houre. There is a deepe nicke in Times restlesse wheele For each mans good, when which nicke comes, it strikes; 135 As rhetorick yet workes not perswasion, But only is a meane to make it worke: So no man riseth by his reall merit, But when it cries "clincke" in his raisers spirit. Many will say, that cannot rise at all, 140 Mans first houres rise is first step to his fall. I'le venture that; men that fall low must die, As well as men cast headlong from the skie.

_Ent[er] Maffe._

[_Maffe._] Humor of Princes! Is this wretch indu'd With any merit worth a thousand crownes? 145 Will my lord have me be so ill a steward Of his revenue, to dispose a summe So great, with so small cause as shewes in him? I must examine this. Is your name D'Ambois?

_Buss._ Sir?

_Maff._ Is your name D'Ambois?

_Buss._ Who have we here? 150 Serve you the Monsieur?

_Maff._ How?

_Buss._ Serve you the Monsieur?

_Maff._ Sir, y'are very hot. I doe serve the Monsieur; But in such place as gives me the command Of all his other servants: and because His Graces pleasure is to give your good 155 His passe through my command, me thinks you might Use me with more respect.

_Buss._ Crie you mercy! Now you have opened my dull eies, I see you, And would be glad to see the good you speake of: What might I call your name?

_Maff._ Monsieur Maffe. 160

_Buss._ Monsieur Maffe? Then, good Monsieur Maffe, Pray let me know you better.

_Maff._ Pray doe so, That you may use me better. For your selfe, By your no better outside, I would judge you To be some poet. Have you given my lord 165 Some pamphlet?

_Buss._ Pamphlet!

_Maff._ Pamphlet, sir, I say.

_Buss._ Did your great masters goodnesse leave the good, That is to passe your charge to my poore use, To your discretion?

_Maff._ Though he did not, sir, I hope 'tis no rude office to aske reason 170 How that his Grace gives me in charge, goes from me?

_Buss._ That's very perfect, sir.

_Maff._ Why, very good, sir; I pray, then, give me leave. If for no pamphlet, May I not know what other merit in you Makes his compunction willing to relieve you? 175

_Buss._ No merit in the world, sir.

_Maff._ That is strange. Y'are a poore souldier, are you?

_Buss._ That I am, sir.

_Maff._ And have commanded?

_Buss._ I, and gone without, sir.

_Maff._ I see the man: a hundred crownes will make him Swagger, and drinke healths to his Graces bountie, 180 And sweare he could not be more bountifull; So there's nine hundred crounes sav'd. Here, tall souldier, His Grace hath sent you a whole hundred crownes.

_Buss._ A hundred, sir! Nay, doe his Highnesse right; I know his hand is larger, and perhaps 185 I may deserve more than my outside shewes. I am a poet as I am a souldier, And I can poetise; and (being well encourag'd) May sing his fame for giving; yours for delivering (Like a most faithfull steward) what he gives. 190

_Maff._ What shall your subject be?

_Buss._ I care not much If to his bounteous Grace I sing the praise Of faire great noses, and to you of long ones. What qualities have you, sir, (beside your chaine And velvet jacket)? Can your Worship dance? 195

_Maff._ A pleasant fellow, faith; it seemes my lord Will have him for his jester; and, berlady, Such men are now no fooles; 'tis a knights place. If I (to save his Grace some crounes) should urge him T'abate his bountie, I should not be heard; 200 I would to heaven I were an errant asse, For then I should be sure to have the eares Of these great men, where now their jesters have them. Tis good to please him, yet Ile take no notice Of his preferment, but in policie 205 Will still be grave and serious, lest he thinke I feare his woodden dagger. Here, Sir Ambo!

_Buss._ How, Ambo, Sir?

_Maff._ I, is not your name Ambo?

_Buss._ You call'd me lately D'Amboys; has your Worship So short a head?

_Maff._ I cry thee mercy, D'Amboys. 210 A thousand crownes I bring you from my lord; If you be thriftie, and play the good husband, you may make This a good standing living; 'tis a bountie, His Highnesse might perhaps have bestow'd better.

_Buss._ Goe, y'are a rascall; hence, away, you rogue! [_Strikes him._] 215

_Maff._ What meane you, sir?

_Buss._ Hence! prate no more! Or, by thy villans bloud, thou prat'st thy last! A barbarous groome grudge at his masters bountie! But since I know he would as much abhorre His hinde should argue what he gives his friend, 220 Take that, Sir, for your aptnesse to dispute. _Exit._

_Maff._ These crownes are set in bloud; bloud be their fruit! _Exit._

LINENOTES:

5 _continuall_. A, incessant.

8 _forming_. A, forging.

10 _men meerely great_. A, our tympanouse statists.

20 _wealth_. A, powers.

25 _faine_. A, glad.

31 _earth_. A, world.

40 _meane_. A, poore.

43 _possible_. A, likely.

44 _good to_. A, fit I.

57 _Callest_. A, Think'st.

80 _doe_. A, doth.

82 _me_? A, me doe.

92 _humorous_. A, portly.

102-3 _And . . . part_. Repunctuated by ed. Qq have:--

And (hearing villanies preacht) t'unfold their Art Learne to commit them, Tis a great mans Part.

110 _loves_. A, eies.

113 _old_. A, rude.

117 _be wise_. A, be rul'd.

122-125 _Like . . . ignorant_. A omits.

126 _To fit his seed-land soyl_. A, But hee's no husband heere.

130 _for_. A, with.

153 After this line B inserts: Table, Chesbord & Tapers behind the Arras. This relates not to the present Scene, but to Scene 2, where the King and Guise play chess (cf. I, 2, 184). Either it has been inserted, by a printer's error, prematurely; or, more probably, it may be an instruction to the "prompter" to see that the properties needed in the next Scene are ready, which has crept from an acting version of the play into the Quartos.

156 _His passe_. A, A passe.

157 _respect_. A, good fashion.

167 _your great masters goodnesse_. A, his wise excellencie.